tag:blogger.com,1999:blog-73808315312896240782018-03-14T11:31:17.714+00:00ShugyoMy blog for tracking my training progress in Iaido and Jodo.Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.comBlogger100125tag:blogger.com,1999:blog-7380831531289624078.post-81177586034423199352018-03-13T19:27:00.002+00:002018-03-13T19:27:07.684+00:00Unpacking A Koryu Kata<!--[if !mso]><style>v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style><![endif]--><br /><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <br /><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">At a recent Muso Shinden Ryu Keikokai, I presented a brief explanation on what I had learned from, primarily, Ishido Sensei but also from other prominent teachers as well in terms of what is actually in a kata. </div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">Most of us I’m sure are familiar with the meaning of kata (<span lang="JA" style="font-family: &quot;MS Mincho&quot;; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">形</span>) meaning shape or form of something. As Jock pointed out at the Keikokai, there is a lot more content within the learning of koryu than just the easily visible and physical shape of the form. Given that we all have a limited amount of time available to learn and practice budo, the habit of “collecting” koryu kata is in direct opposition to the ability of being able to develop “depth of knowledge” of any kata. While we shouldn’t spend the rest of our lives learning how to bow to the shomen, the learning of all aspects of a kata is what makes a study of budo interesting and worthwhile rather than just a rehearsal of choreography.</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">I have heard Ishido Sensei explain how kata can fit into certain categories, how it can be parsed into components and separated into variances. Furthermore the performance of a kata should change as the exponent develops themselves. In this way, while the koryu might be described on the surface as a set of choreographed movements, it becomes something of a living and growing organism that gets born when it is learned and develops and then dies with the exponent.</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">Anyway, away from contemplating ones navel, being someone who relies on visuals and patterns to describe and remember abstract stuff, I built my own appreciation for a kata on a set of views and components of each kata. It goes something like this (in fact it goes exactly like this).</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><br /><ul><li><h3><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>1. Kihon waza<span style="mso-spacerun: yes;">&nbsp; </span><span lang="JA" style="font-family: &quot;MS Mincho&quot;; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">基本技</span></h3></li></ul><br /><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-2F8HLw6P9Uo/WqgiLbu0NdI/AAAAAAAACEI/JWbrEi6FpCUmkFadPLRsIOvHWhM0FaCYwCEwYBhgL/s1600/Slide1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://2.bp.blogspot.com/-2F8HLw6P9Uo/WqgiLbu0NdI/AAAAAAAACEI/JWbrEi6FpCUmkFadPLRsIOvHWhM0FaCYwCEwYBhgL/s400/Slide1.JPG" width="400" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="mso-no-proof: yes;"></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">The kata is originally described and taught by its kihon, its basic form. This describes roughly what the techniques are, what is the scenario, what the enemies are doing and where they are. It is what one sees when one reads a book on the style and sees the kata, what one learns in the first few months of studying a new kata. It is, unfortunately, what one can mistake for being the important thing to learn. It is of course the basic architecture and is of paramount importance to learn correctly and preserve. One shouldn’t think though that because they have learned the choreography that one has mastered the kata. It is the framework for further study and discovery, some via ones teacher, some through solo training and research.</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><br /><ul><li><h3><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;</span></span></span>2. Teigi <span lang="JA" style="font-family: &quot;MS Mincho&quot;; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 定義</span></h3></li></ul><br /><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-4BkMdsZkKpg/WqgiLXj8U6I/AAAAAAAACEA/1nOpPJYQ72k8YJMT6sLSFeuRygBanvcSwCEwYBhgL/s1600/Slide2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://4.bp.blogspot.com/-4BkMdsZkKpg/WqgiLXj8U6I/AAAAAAAACEA/1nOpPJYQ72k8YJMT6sLSFeuRygBanvcSwCEwYBhgL/s400/Slide2.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="mso-no-proof: yes;"></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">The route to explaining this becomes a bit mixed up here so please bear with me. In terms of deconstructing the kata, Teigi and Gainen should be explained in parallel. However in terms of the order in which one learns and discovers the depths of the kata, teigi is probably learned first followed by Oyo and then Gainen.</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">Anyway, teigi means “definition” and in this context it is the fine detail, like the geometry or techniques and postures which go on to give finer and finer information concerning the kata. It is important to understand the teigi as these give vital information about how to deliver the kihon waza “correctly” and thus preserve the koryu accurately. An example of this might be (and this example was used at the Ishido Cup in 2018) how one defines hasso kamae, i.e.</div><div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Tsuba one fist away from the mouth</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Kensen elevated to approximately 45°</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Hasuji inclined forwards</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Left hand at the centre of the body</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Body slightly turned</div><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Etc.&nbsp;</div><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><br /><ul><li><h3>&nbsp;&nbsp;&nbsp;&nbsp; 3. Oyo<span style="mso-spacerun: yes;">&nbsp; </span><span lang="JA" style="font-family: &quot;MS Mincho&quot;; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">応用 </span></h3></li></ul><br /><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-WwnaY9jFkA0/WqgiLQ9jsTI/AAAAAAAACEM/NwSopPkaI_AIre2bFPUD5E3zOR-xAN0DQCEwYBhgL/s1600/Slide3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://4.bp.blogspot.com/-WwnaY9jFkA0/WqgiLQ9jsTI/AAAAAAAACEM/NwSopPkaI_AIre2bFPUD5E3zOR-xAN0DQCEwYBhgL/s400/Slide3.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="MsoListParagraph" style="mso-list: l2 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="mso-no-proof: yes;"></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">Oyo means application, to put the kata into practical usage. For exponents this means three things:</div><div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo3; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Through a volume of training, certain parts of the kata become very fluid and natural. This leads to edges and corners becoming rounded off both in terms of physical movement and timing. While the overall shape of the kihon is still there and visible, this is how the form should look when put into action.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo3; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>That certain parts of the kata may actually be omitted or changed. The kata looks almost the same as the kihon but the parts which were originally included to explicitly train the body are now made so subtle that the kata may look different.</div><div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo3; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>That this may form another version of the kata (a kaewaza) meant to show how the basic technique leads to a more fluid and flexible version.</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">&nbsp; <span style="font-family: &quot;Calibri&quot;,&quot;sans-serif&quot;; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"></span></div><br /><ul><li><h3>&nbsp;&nbsp;&nbsp; 4. <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Gainen<span style="mso-spacerun: yes;">&nbsp; </span><span lang="JA" style="font-family: &quot;MS Mincho&quot;; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">概念</span></h3></li></ul><br /><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="mso-no-proof: yes;"></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5M65FQnQBcs/WqgiL2GkqoI/AAAAAAAACEE/iL-JKaRMf4coH0E4ZW58xdzK1uMW2GnnwCEwYBhgL/s1600/Slide4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://1.bp.blogspot.com/-5M65FQnQBcs/WqgiL2GkqoI/AAAAAAAACEE/iL-JKaRMf4coH0E4ZW58xdzK1uMW2GnnwCEwYBhgL/s400/Slide4.JPG" width="400" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">At some point in the training, the exponent begins to learn that individual techniques within, or the kata as a whole, is composed of one of more practical concepts or ideas. These are different to teigi in that they rarely have definitive qualities like dimensions or strict physical criteria. Instead they have uses. The example that Ishido Sensei gave was, how would one define Ukenagashi. Looking at its presence in Seitei and in Muso Shinden Ryu for example, it is used in a typical flowing way with the sword declined to allow the opponent’s sword<span style="mso-spacerun: yes;">&nbsp; </span>slide off the defending sword. However, the kensen may be elevated to make Ukenagashi or even flat. It doesn’t have teigi (definition), it exists only as a concept. In ZNKR iaido for example, it is used as a style of making furikaburi in the most efficient way possible.</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">On examination, a kata may be trying to instill a gainen to the student or it may make use of concepts to construct the kata.</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><br /><ul><li><h3><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5. <span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Kotsu<span style="mso-spacerun: yes;">&nbsp; </span><span lang="JA" style="font-family: &quot;MS Mincho&quot;; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">骨</span></h3></li></ul><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-kYIP-thv6bM/WqgiMYpjmOI/AAAAAAAACEI/S5oKRi2Bb2YFlA7jgcQvY5od6rk9w8vKACEwYBhgL/s1600/Slide5.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://4.bp.blogspot.com/-kYIP-thv6bM/WqgiMYpjmOI/AAAAAAAACEI/S5oKRi2Bb2YFlA7jgcQvY5od6rk9w8vKACEwYBhgL/s400/Slide5.JPG" width="400" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="mso-no-proof: yes;"><br /></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">Kotsu is the Chinese reading of the Japanese word for “bone”. In this context, kotsu means knack, skill, secret or know-how. In my opinion, it is the slightly concealed kernel at the core of every kata which one has to search for and master in order to really “know” the kata. I believe personally that a kata may have one or several such kotsu but essentially they are the key skills that one is aiming to develop through learning, researching and training the kata. From Ishido Sensei’s explanations it seems fairly clear that the kotsu can be divided into two main categories (which aren’t so strikingly different from each other):</div><br /><ul><li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Jokyo – situation, how to deal with one particular scenario</li></ul><br /><ul><li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Toho – methodology or swordsmanship, how to use the sword in a certain way</li></ul><br /><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">So what’s the point of all this then? I should here point out that this parsing of the kata into different aspects does not reflect the importance or priority of one aspect over another. The kihon is not more or less important that the kotsu. Without one or the other the kata makes no sense and has no practical usage or method of learning. </div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span style="mso-no-proof: yes;"></span></div><br /><ul><li><h3>&nbsp;6. Kaewaza&nbsp; 変え技</h3></li></ul><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-ofn6NnSF0QE/WqgiM7YosjI/AAAAAAAACEM/ShVhecNnLVEfwXZf4P9GrGAjuDAVJP5SwCEwYBhgL/s1600/Slide6.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://4.bp.blogspot.com/-ofn6NnSF0QE/WqgiM7YosjI/AAAAAAAACEM/ShVhecNnLVEfwXZf4P9GrGAjuDAVJP5SwCEwYBhgL/s400/Slide6.JPG" width="400" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">Ultimately it is possible to make enough changes to the Teigi that the architecture of the form is slightly different and takes the shape of “kaewaza” <span lang="JA" style="font-family: &quot;MS Mincho&quot;; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">変え技 </span>or alternative form. The gainen within and the main kotsu may be the same, it is the outside form which is likely to be different.</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">As a close, I should point out that these aren't strict definitions or meanings. The order in which they are taught or learned may vary kata-to-kata, ryuha-to-ryuha, teacher-to-teacher, student-to-student. The importance, I believe, is that one shouldn't be satisfied with the learning of a kata until all of these aspects are assimilated. One need only then go onto master the various aspects until....one dies. Then let's hope one has written enough blog posts to accurately pass on this knowledge to the next generation.<br /><br />LOL</div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-74810962107247642462017-11-30T13:12:00.002+00:002017-11-30T13:12:43.846+00:00European Championships Organisation (and scraps of paper found on the floor)So, while Stoj was tidying up my house (otherwise known as reducing the universal entropy by a quantum fluctuation) she came across a scrap of paper that I had scribbled out from the last European Jodo Championships. It was some feedback from Kurogo Sensei about how we might consider improving the organisation of the Championships so that it ran a bit smoother on the day. He was quick to point out that these were just his ideas and weren't "direction" by any means.<br /><br />I thought it would be useful to replicate those points here and they are almost as relevant for a European Iaido Championships (except the stuff about Uchidachi of course):<br /><br /><ol><li><b>Referee rotation system: </b>This should be decided before the day of the taikai between the EKF, the host country, the ZNKR shinpan and the referees themselves. Rather than just talking about the procedure at the shinpan seminar, it should be decided how many bouts will take place before a rotation occurs. This shouldn't be decided on the morning of the taikai but in fact all referees should arrive at the taikai knowing completely how the day will run so that they can concentrate on judging only.</li><li><b>&nbsp;Opening commands:</b> It should also be decided and explained how the taikai will open with regards to the commands made by the shinpancho and the shinpan at the first match of the day. It should also be confirmed how the final matches will run with regards to the closing commands (how many shomen no rei to do for example). This needs to be confirmed with the competitors as well so that they don't have to listen to instructions before going out to the finals and they're not called back to the shiaijo after the last final has finished (as happens almost every year).</li><li><b>What to judge on: </b>This is a point for Jodo, it should be clearly agreed what the judges are judging on during the taikai with regards to it being either jo only, jo and tachi equally or jo mainly with a nuance of tachi.</li><li><b>Restriction of dan grade of Uchidachi: </b>While it may be written in the rules, it is important that the restriction of dan grade of the Uchidachi (within 2 dans of the Shijo) is clearly explained and confirmed. This is important as if a shinpan suspects that an Uchidachi is beyond the two grade limit then they have to stop the match and reset it possibly. There is no clear procedure for this so it is best that it never occurs through clear explanation.</li><li><b>Match records</b>: It should be clearly explained to each Shinpan Shunin how the matches will be recorded on the paperwork. Usually there are three Shinpan Shunin from the ZNKR and one from Europe and it might be constantly changing how the matches will be ordered and recorded. The host country with the EKF should ensure that this is confirmed with the Shunin each year.</li></ol><br />I just also would like to mention something that happened at this year's EJC which was very interesting. When we got to the finals, Kurogo Sensei selected the finals shinpans. It was pointed out that some of the judges were of the same nationality as the finalists. Instead of replacing them, Kurogo Sensei explained that by the time we got to the finals, every shinpan should be able to judge fairly and accurately regardless as to whether they were judging their own country.<br /><br /> While I realise that this is currently against our regulations, I thought it was a nice touch and I would welcome a time in the future when all of our referees are able to judge without bias and take some regard for the extreme time and effort every competitor has put into their training to be there. Judging should be hard work and not simply an opportunity to sit back and wait to be impressed or see an obvious fault.<br /><br /><br />Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-49116556173717010202017-03-28T16:56:00.000+01:002017-03-28T22:39:27.252+01:00Some Traditional Ways To Do Kesagiri Incorrectly<div class="separator" style="clear: both; text-align: center;"></div>So I am now approaching the one-year boundary to taking my 7th dan grading in Iaido and achieving Level 10 Paladin status (with a +8 vorpal blade to boot). Naturally this means I now have to focus on the important things in life to prepare:<br /><ul><li>Watching more Youtube</li><li>Starting to write more blogs</li><li>Procrastinating about finishing them</li><li>Doing the washing up</li></ul>&nbsp;So in this theme of avoiding doing any training at all costs, I thought I would spend some time in the dojo filming my students and commenting about how they are "still doing it wrong, you never listen, why am I even here if you don't listen, I told you this last week etc, etc, etc" so I ensure that they feel that they are properly valued.<br />I decided to turn my focus on Kesagiri, a form that somehow gets little attention compared to other Seiteigata so by my reckoning probably means that we (I mean me) are missing out some essential bits.<br />Let's start at the beginning with the translation of the ZNKR instruction on the most important part in this path to spiritual perfection - hacking your opponent in two...<br /><br /><ol><li>While facing the front, begin walking with the right foot; when the left foot is in front quickly place both hands on the sword. Rotate the saya left and down while drawing the sword; at the same time that the right foot moves forwards, with a right-handed grip cut the enemy in front from their right wakibara in a reverse kesa cut. Note - when the sword has cut up, the sword should be rotated when the right fist is above the right shoulder.</li><li>With the feet in the same position, with the left hand bring the saya back to it's original position, release the koiguchi and grip the tsuka; without stopping the sword from the rising cut, cut the enemy from the shoulder joint down through the kesa. Note - at the end of the cut, the alignment of the left fist and the kissaki should be the same as Kata No. 3 Note on Point 2.* </li></ol>* This refers to the kissaki being slightly below horizontal and slightly to the left with the left hand in front of the navel<br /><br />I'm going to stop there because I don't want to get into how to make hasso kamae etc.<br /><br />In the chakuganten (critical points for examination and judging) the significant one of the two is asking whether the rotation of the sword is made above the shoulder or not.<br /><br />So these are the bits which are "decided"; we also receive various bits of advice and instruction from our Japanese patron teachers over many years including:<br /><br /><ul><li>The two cuts should be joined into one</li><li>The initial draw should make a pressure to the enemy's face</li><li>The distance to the enemy for both cuts is the same</li></ul>I think these are generally inarguable as they have been instructed by a very wide range of teachers, both from official delegations to private invitations. <br /><br />So, the fun began by seeing how each cut related to each other when I started torturing (aka filming) certain students. I present here a small sample of those movies and I am grateful to those who allowed me to make these images. Not to be outdone by Yuki Shima's Jodo blog (with animated images) I thought I would waste some time doing the same.<br /><br />Oli is first...<br /><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowFullScreen='true' webkitallowfullscreen='true' mozallowfullscreen='true' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxQMTXcZalwJ-t-CJk3jNVz4vLMEzL17bZ9PQz1tI-F1uxu2UckxXiEj7bKub7ngsyfsDs1fDG7ANjB5lzbkQ' class='b-hbp-video b-uploaded' FRAMEBORDER='0' /></div><br />I should add here, before Oli falls on his sword, this was the worst case out of three movies that I took but I would say pretty typical of what most people do.<br /><br />I have combined a sequence with no enemy and with an enemy in the following clip...<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-T0XdBF-cPHw/WNpjXjoTAYI/AAAAAAAABuw/byk1IuBnLUoofCLkl9Sfk7LHYU0R-3csQCLcB/s1600/output_ZcbgZh.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://3.bp.blogspot.com/-T0XdBF-cPHw/WNpjXjoTAYI/AAAAAAAABuw/byk1IuBnLUoofCLkl9Sfk7LHYU0R-3csQCLcB/s400/output_ZcbgZh.gif" width="400" /></a></div>Again you can see that the course described by the kissaki on the uppercut shows an opponent that is so close on the downward cut that they would likely be hit the hands or the tsubamoto rather than the monouchi.<br /><br />You might now also start to see some extra lines showing one of the probable causes.<br /><br />Let's look at Will next. Firstly just the cutting lines...<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ViRdOeieBQs/WNpnKWyHXuI/AAAAAAAABu8/cpqKybSGunATMKwS5pcgpIJKKfixOF6mgCLcB/s1600/output_Jj82KB.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://1.bp.blogspot.com/-ViRdOeieBQs/WNpnKWyHXuI/AAAAAAAABu8/cpqKybSGunATMKwS5pcgpIJKKfixOF6mgCLcB/s400/output_Jj82KB.gif" width="400" /></a></div>You will notice that Will's uppercut has a bit more of an outreach than the other examples. Let's see it with Mr K.Teki in the image...<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-66TpdAlrWog/WNpn4WBoSaI/AAAAAAAABvE/AenVbZJYJ2cdcNR5HknleWQYd8vYlFjJQCLcB/s1600/output_yLgiUp.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://4.bp.blogspot.com/-66TpdAlrWog/WNpn4WBoSaI/AAAAAAAABvE/AenVbZJYJ2cdcNR5HknleWQYd8vYlFjJQCLcB/s400/output_yLgiUp.gif" width="400" /></a></div>So, while it isn't perfectly aligned for both cuts, this is slightly better; Will's downward cut is using the centre of the blade. I should also point out another couple of interesting observations:<br /><br /><ol><li>&nbsp;I haven't made markings of Will's changing foot positions during this sequence because they don't move.</li><li>The red circle at the end of the sequence shows the intersect point. This is where the upper cut and downward cut have the sword in the same position (albeit with the hasuji rotated) and so show that the sword position is defining the enemy's position as being the same.</li></ol>So, now onto Perfection itself i.e. me.<br /><br />I should point out that I asked myself to be filmed after:<br /><ul><li>Watching and filming other people doing Kesagiri</li><li>Spotting this issue with distance</li><li>Thinking carefully about the causes</li><li>Trying hard to implement solutions</li></ul>&nbsp;So basically I cheated. Anyway, here I am in glorious normal speed...<br /><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowFullScreen='true' webkitallowfullscreen='true' mozallowfullscreen='true' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dz6e3tbKDp4ulfx7DdJ48T9ZnabpTGg38rnyLcO_Wf6hAuxVQBwvZjnzen27QPpghl9q0dmkCSa9u9KbYTkhw' class='b-hbp-video b-uploaded' FRAMEBORDER='0' /></div><br />&nbsp;You can then see the kissaki course lines and my front foot positioning...<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-3b68RgN3oCo/WNpqMSmrvOI/AAAAAAAABvQ/4gUeQTMcojUgtxUZiK82NiaO4z6RsyGvQCLcB/s1600/output_wNkNCY.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://3.bp.blogspot.com/-3b68RgN3oCo/WNpqMSmrvOI/AAAAAAAABvQ/4gUeQTMcojUgtxUZiK82NiaO4z6RsyGvQCLcB/s400/output_wNkNCY.gif" width="400" /></a></div>You will notice that the intersect point is quite low now with this version. I then superimposed Mr K.Teki and also emphasised the entry points of the sword by turning my shinken into a nice yellow light sabre...<br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VLifhlUmdOU/WNpqr7vFuMI/AAAAAAAABvY/s9rESABPcJ4VKelZBh8kieLq2MgA_uuuQCLcB/s1600/output_NfGO7p.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://1.bp.blogspot.com/-VLifhlUmdOU/WNpqr7vFuMI/AAAAAAAABvY/s9rESABPcJ4VKelZBh8kieLq2MgA_uuuQCLcB/s400/output_NfGO7p.gif" width="400" /></a></div>Not perfect by any means (the camera perspective here doesn't help much either) but the point I am trying to make is that to enhance one's Kesagiri one should try to ensure that the entry part of the upper cut and the downward cut both use a reasonable portion of the monouchi and not the kissaki going up and the tsuba coming down. The position of this intersect point is crucial to doing this right. The higher the intersect point is then the less chance that a correct paired cut is made.<br /><br />For example:<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-VhgfkXqAQec/WNrYBS121cI/AAAAAAAABws/RTaSp1GcD3YvaIGO2ZF6kPArKoNUVmRvACLcB/s1600/Comparison%2Bof%2Bintersect%2Bpoint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-VhgfkXqAQec/WNrYBS121cI/AAAAAAAABws/RTaSp1GcD3YvaIGO2ZF6kPArKoNUVmRvACLcB/s320/Comparison%2Bof%2Bintersect%2Bpoint.jpg" width="176" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"></div><br />&nbsp;So I think from some of the observations from these clips, the causes of a distance mismatch can be boiled down to:<br /><br /><ul><li>The body moving forwards after the entry point of the upper cut. This can be further broken down to:</li><ul><li>The front foot continuing to move forwards </li><li>The rear foot being pulled up afterwards (Oli's case)</li></ul><li>&nbsp;The right arm being pulled up too quickly after sayabanare or the right arm being too contracted during the uppercut</li></ul>This latter point I actually noted back in a previous posting...<br /><br /><a href="http://iaidojodotraining.blogspot.co.uk/2011/02/iaido-training-session-44.html" target="_blank">Iaido Training Session 44</a><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-URheZbtrLSE/WNpwj3_ftuI/AAAAAAAABvw/4OqFp-Ohtx8B6WQ6uHmXU2kSJfO_fOazgCLcB/s1600/Kesagiri.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://1.bp.blogspot.com/-URheZbtrLSE/WNpwj3_ftuI/AAAAAAAABvw/4OqFp-Ohtx8B6WQ6uHmXU2kSJfO_fOazgCLcB/s320/Kesagiri.jpg" width="320" /></a></div>The course on the left is fairly typical with the right arm dragging the sword up instead of using the tenouchi to drive the kissaki forwards. This shouldn't mean drawing the sword downwards so that the kissaki hits the floor. Ishido Sensei has demonstrated time and time again how leaning forwards doesn't help at all.<br /><br />To continue this analysis, I have had to call upon the help of a friend of mine. Ladies and gentlemen, for his first time on Shugyo - Iaido and Jodo Training Blog - please let me introduce Arthur...<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vh-ScA1w1Xo/WNp7WUls-YI/AAAAAAAABwA/G3L09Zr1NEcn50RDuw8dzCVfYFu9fsg6QCLcB/s1600/20170328_160041.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://1.bp.blogspot.com/-vh-ScA1w1Xo/WNp7WUls-YI/AAAAAAAABwA/G3L09Zr1NEcn50RDuw8dzCVfYFu9fsg6QCLcB/s400/20170328_160041.jpg" width="400" /></a></div><br /><br />&nbsp;Arthur has quite a nice dojo. Wooden floors, mats stacked up in the corner, even a bar to go for a bit of a warm down snuck around the back. He's also a bit of an idiot. His feet come unstuck during camera shoots and he won't allow to put screws through his feet. Still he can be of some help...<br /><br /><div class="separator" style="clear: both; text-align: center;"></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-MKUs_XuSkJc/WNp8RMeYFGI/AAAAAAAABwQ/EpOBFelH81gInJhwotntfCDqGLuFO95HgCEw/s1600/output_vooUie.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://1.bp.blogspot.com/-MKUs_XuSkJc/WNp8RMeYFGI/AAAAAAAABwQ/EpOBFelH81gInJhwotntfCDqGLuFO95HgCEw/s400/output_vooUie.gif" width="400" /></a></div><br /><br /><br />&nbsp;Now look at the intersect point. It's almost in front of his face. If we put Mr K.Teki in position (he's wearing a very fetching green today) we can see how the two cuts relate to each other...<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-YcfNWahIjxk/WNp9xnOWqcI/AAAAAAAABwY/W1cxgt9m6HkJ2yTtbQ1sk369rLa6VOVrgCLcB/s1600/output_vl4Cs0.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://4.bp.blogspot.com/-YcfNWahIjxk/WNp9xnOWqcI/AAAAAAAABwY/W1cxgt9m6HkJ2yTtbQ1sk369rLa6VOVrgCLcB/s400/output_vl4Cs0.gif" width="400" /></a></div><br />&nbsp;Points to note though:<br /><br /><ol><li>Arthur doesn't need to lean forwards in order to get the monouchi to cut the opponent's wakibara. In fact you can see that the right arm is at shoulder height during this initial drawing sequence.</li><li>The kissaki's course from the saya to the wakibara is not overly curved. It isn't straight either, it follows a natural arc made by leaving the right hand fairly still and using tenouchi.</li><li>Once contact is made, the right arm starts to lift. Those of you with even a rudimentary knowledge of anatomy and the cutting dynamics of a sword will know that during this uppercut it is more than likely that the sword will run over the top of bones such as the ribs while going across the chest. One wouldn't be able to cleave through the body with a one-handed uppercut. This upward course is nicely represented by the kissaki arc now moving much more vertically once contact is made.</li><li>This alignment of the cutting courses only works effectively if the feet aren't moving after first contact is made with the sword.</li></ol>With regards to 4. I don't believe that it's necessary that the feet should remain absolutely static in order for one to make friends and influence people. However, the more residual movement there is, the less alignment occurs between the two cuts. This isn't by any means in order to make the kata static and non-dynamic. There should be no problem with, for example, the rear foot shifting up slightly while the sword is traveling from the koiguchi to the first contact point. The point is that the body shouldn't be moving <u>after</u> this first contact.<br /><br />&nbsp;So now, how to avoid dragging the sword up into what would be a very short distance cut during the kiriage. I tried it myself and advised others to train this nukitsuke without any intention of lifting the arm. This starts off with a very light and moderately slow cut. However, our muscle memory is so tuned to wanting to lift the sword, after even a small amount of practice, the feeling of needing to lift the arm once the kissaki had moved into a first contact position was very strong and almost automatically resulted in a kiriage. A much better result than before.<br /><br />Actually all of this reminded me of a comment that Ishido Sensei made while talking about Morishima Sensei; he said that now Morishima Sensei was making his final steps in this kata much slower in order to accentuate the speed of the cut. This certainly works very nicely to control and moderate the foot movement so that there isn't this post-cut residual movement.<br /><br />So in summary, a note to myself (and to you if you find yourself doing the same thing in this kata, it shouldn't be many of you, perhaps only 95% of you....):<br /><br /><ol><li>Observe and control step speed and spacing so that post-cut movement is minimised.</li><li>Don't intend to pull the right hand up during the cut. Instead focus on the tenouchi of the first cut and allow this to blend naturally into the rising cut (kiriage).</li></ol>&nbsp;Anyway, I have some washing to go and do during which I can think about training....hmm, maybe something wrong here....<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com6tag:blogger.com,1999:blog-7380831531289624078.post-64397895233231212882016-08-15T21:32:00.002+01:002017-03-29T23:28:45.038+01:00ZNKR Iaido Special Points for ConsiderationAs promised at the Netherland Kendo Renmei 50th Anniversary Seminar this year (and at the UK Jikiden Seminar earlier), I have uploaded my translation of the ZNKR Iaido Special Points for Consideration.<br /><br />You can find the link below, please feel free to distribute (for no commercial gain of course)...<br /><br /><br /><a href="https://drive.google.com/file/d/0B1_Xmy_vHCsRY0FrLVR5Y1YxaDg/view?usp=sharing" target="_blank">ZNKR Special Points for Consideration</a>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com2tag:blogger.com,1999:blog-7380831531289624078.post-46623122167677598962016-03-02T01:36:00.000+00:002016-03-02T01:36:14.756+00:00Fu-Rin-Ka-Zan (and does anyone know where the off-button is?)<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><br /><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style><![endif]--> <br /><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal" style="mso-outline-level: 1;"><br /><span style="mso-bookmark: _MailOriginal;"><span lang="EN-US" style="font-family: &quot;Tahoma&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: &quot;Times New Roman&quot;;"></span></span></div><div class="MsoNormal" style="text-align: center;"><span style="mso-bookmark: _MailOriginal;"><a href="http://1.bp.blogspot.com/-cNJOcMTBYAw/VtZBUe-DyEI/AAAAAAAABqw/mTrt3CZbCN0/s1600/Furinkazan.jpg" imageanchor="1"><img border="0" src="https://1.bp.blogspot.com/-cNJOcMTBYAw/VtZBUe-DyEI/AAAAAAAABqw/mTrt3CZbCN0/s400/Furinkazan.jpg" /></a>&nbsp;</span></div><br /><br /><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">And so begins the shugyo blog on my road preparing for iaido 7th Dan.&nbsp; Why now, I hear you ask along with the other voices in my head, some telling me to put my toaster in the fridge at 3:27 every day. Well I am currently writing this while in Japan for a week training with Ishido Sensei (and today, on Sunday, with Yoshimura Sensei) and this short period of intense training makes a clear mark of my starting my prepatory training.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">To be honest the last year or so I have been quite lazy with my own training. We now have quite a full dojo with a perfect number of students and each iai class generally has two or three levels in it. For about a year now I have been pushing our guys to learn Shinden Ryu from scratch and I have tried to ensure that everyone understands the basic form of every kata in accordance with Ishido Sensei 's teaching. We are now working through Okuden Tachiwaza, it has been quite a slog (I don't know how they put up with me). There is also a section of the dojo preparing for their forthcoming grading so there is also a focus on Seitei at the same time. We also have a relative beginner or two so each class requires quite a bit of supervision especially given the limited space available. This requires a lot of sacrifice for all of our dojo's highest grades.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">I have been busy helping the training in Poland as well along with a few other fine teachers. Watching the Polish guys develop has been a rewarding study in itself if not a highly challenging one. They have done extremely well at a European level and every time they win something I have to think hard about how to up my coaching to be useful to their ever ascending level.</span></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">So the result of this circa 18 months of teaching is a pretty improvement in what my eyes can see but my body is knackered...</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">Now I have to train to be able to do what I teach, to walk the talk and other overused clichés. And this is why I am now in Japan by myself. The last few days I would have to say has been a glorious learning experience, both for my technical knowledge, my knees and my ability to creatively use sticking plasters. I arrived last Wednesday so I had a bit of time to settle in before the evening Jodo practise. I spent all of Thursday daytime training in the dojo by myself as Sensei slowly drove me through the harder parts of Shoden and Chuden (the latter of which I can't remember experiencing any easy parts). It was during the Chuden part that Sensei introduced me to the concept of Ohyo (</span><span style="mso-bookmark: _MailOriginal;"><span lang="JA" style="font-family: &quot;MS Mincho&quot;; mso-ascii-font-family: &quot;Times New Roman&quot;; mso-fareast-font-family: &quot;MS Mincho&quot;; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: &quot;Times New Roman&quot;;">応用</span>). It turned out that I had trained this aspect before but didn't realise exactly the concept I was focusing on.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">Ohyo means "application". It is quite different to Riai which means the logic of the form. It is probably best to understand it via the way it is used in training. More so in koryu one learns the basic or kihon of a form. In this part of the training, moves are often exaggerated and constructed in a way that makes the performance of the form as physically challenging as possible. By this I don't mean that it would require huge amounts of dexterity, rather it requires the most physical movement aiming for the smallest targets. As one progresses it becomes necessary to practically apply the form. In order to do this effectively and efficiently, certain compromises should be made to the basic form. This might include things like only using the hands to maximise sayabiki where in the kihon the hips might have been used. Moreover small variations in the application i<span style="color: #1f497d; mso-themecolor: dark2;">n</span> the form are studied. This might include variations in the distance and position of the enemy, what the enemy is doing, variations in timing<span style="color: #1f497d; mso-themecolor: dark2;"> etc</span>. I should point out here that this is different to the well known concept of kaewaza (variations of the form). One could be concentrating on the most basic and orthodox version of a form but through training in Ohyo one learns how to practically and skillfully apply the technique.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">I can't explain much more about Ohyo without visual references but suffice to say that Chuden has quite a lot of opportunities to train Ohyo (especially Ukigumo, Oroshi and Iwanami). After a day of this I started to realise that knees rely on muscles around them...</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">On Friday I had the morning and afternoon session with Sensei by himself again although as he was busy he ran me through the Okuden Suwariwaza and the points he wanted me to focus on. Again the difference between the Kihon and the Ohyo came up. The Okuden forms are quite short and simple at first glance but it is the Ohyo of the forms which presents the challenge. Again I should emphasis that this is also different to the kotsu (secret or knack) of the form. Ohyo is a way to put the kotsu into practice as an application. Of particular difficulty is the Ohyo of Towaki which I discovered by sticking the point of my new iaito into my forearm. At this point I realised the importance of carrying a tenugui in one's keikogi as an impressive spray of blood went across the floor. One plaster and a box of tissues later I was back into practise with no one the wiser (probably including me who is sure to do this again some day).&nbsp; During these sessions I worked up to Towaki only and then went back to my hotel for a welcome break.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">Not satisfied with torturing myself in the day only I then accompanied Sensei to the class he leads in Tsurumi. It was a nice big dojo, very warm with a good floor. Sensei let me alone to train a while and I was happy to do some Seitei practise. I was getting very tired by now and only had enough energy to go through the forms quite limply. At one point I started Mae, extremely relaxed and slow and then found the sword whipping out into nukitsuke. "Ah, that was good" said Sensei as he passed by. He recognised the softness being turned into sharpness and he described to me the feeling that this should have. He said, imagine sitting in a very hot bath where you don't want to move around or create waves of hotter water which would hurt. Instead you move very smothly and slowly as if not creating any turbulence. I repeated this and became aware of the effort put into my legs but how relaxed my arms were. It was much easier to track the positions of my hands while doing it this way. I will need to check with Sensei but I am guessing that with tactility is what initiates and amplifies Jo-Ha-Kyu.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">Anyway I managed to get through this evening training without stabbing myself through the head so we went back to the dojo for the Friday night training. It was a nice class with only Aurelian,&nbsp; Jane and Morishima Sensei. Watching him reminded me of how keeping a low and deep posture creates core body tension which develops power. After training he told me that I should worry less about techniques and focus on the heart of the delivery. By this he said, he meant that one must focus on the enemy, which should of course be oneself (should be easy to beat in my case), and it should be visually evident to anyone watching that you have utterly killed your opponent by the way the form is performed. I understand pretty much what he means but it is difficult for me to agree that my technique is anywhere near good enough. This week had so far been a lesson in a) how much I still had to learn and b) how unfit my body was to do the forms well.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">Anyway I finally got home after midnight from one of the longest training days I had ever had. I have to say it was one of the most enlightening. Certainly my tourniquet skills have improved considerably.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="mso-bookmark: _MailOriginal;">Saturday was open training day in the dojo so I went along in the morning to do some Seitei training with a little revisit of Towaki in the afternoon. Sensei got Inari San to demonstrate Towaki from Eishin Ryu and she showed beautifully how to maintain movement as per the Ohyo of the form.&nbsp; After a tour-de-force of standing Ukenagashi we left (and went for dinner and drinks with Yoshimura Sensei and Otake Sensei).</span></div><div style="text-align: justify;"><br /></div><div style="-moz-border-bottom-colors: none; -moz-border-left-colors: none; -moz-border-right-colors: none; -moz-border-top-colors: none; border-color: -moz-use-text-color -moz-use-text-color windowtext; border-image: none; border-style: none none solid; border-width: medium medium 1.5pt; padding: 0cm 0cm 1pt; text-align: justify;"> <div style="border: medium none; padding: 0cm;"><span style="mso-bookmark: _MailOriginal;">I now sit here on Sunday in the Tokyo City Truck Cooperative meeting room writing this after a 2 hour training session with Yoshimura Sensei in Tokyo. I bumped into Dillan Lin who now lives in Tokyo while in the dojo and we all did Seitei.&nbsp; Yoshimura Sensei asked me to do a 12 form Seitei embu and I started to realise that smaller audiences present more stress than large ones. Breath control especially goes out the window slightly.</span> At the end of everyone’s embu he explained to everyone the importance of koryu practice. He said that all of the seitei forms come originally from koryu and that koryu puts the taste into seitei. Without it it will be simply just movements.</div><div style="border: medium none; padding: 0cm;"><br /></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">So now I sit here at the airport finishing this off. I had all day Monday and Tuesday morning at the dojo working through koryu forms again. On Monday, Ski Journal journalists turned up to photo Sensei and get some more details for the koryu articles which are being published from his resource. I helped with the photos for Kabezoi so maybe my fifteen seconds of fame are not far away. Actually he showed a lot of detail around footwork and application for the standing forms so I was very glad to be present and record some of this stuff. It especially made Moniri a lot easier to understand. Of special interest was the explanation that the form is performed realising the possibility of an overhead obstruction; it wasn’t necessarily a given that one would hit the obstruction but one had to perform the kata in a certain way just in case.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Once this had finished and they had left after lunch, I then worked further on my Towaki and “how to avoid putting a sword through my arm” technique. I then had about two hours rest before coming back to the dojo for normal iai training. Sensei explained how the tsuka should rotate within the hand exactly 180° in Ukenagashi so that the tsukagashira replaces the position where the blade was previously and brings it onto the centre. This then avoids the left arm obscuring the vision (the same applies for Kesagiri and Sogiri). I tried this and it made the cut quite short but much sharper.</div><div style="text-align: justify;">Steffen Michaelis joined the morning training on Tuesday morning (he arrived on Saturday) so we did some koryu training together, it was nice having someone else in the dojo to be honest as I was worried Sensei was getting bored with dragging my sorry ass through the forms.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">And so, here at the end of this short but very rewarding trip, with inflamed toes, ankles and knees and no shortage of sticking plasters in various places, I now return to foggy shores (ooh, that was nearly poetical) and soggy weather; there is quite a lot of information collated that I now need to work on regularly and share with my dojo cauliflowers. In fact with all this information I foresee another RSI condition around the jaw....</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">(As a postscript I just also want to thank Lucy, Jane, Aurelien, Steffi, Steffen, Inari-san for being such good company during my stay and providing me with the frequent assistance in the dojo)</div><br /><br /><br /><div style="text-align: center;"><a href="http://1.bp.blogspot.com/-_KXhQw5FYDU/VtY97u32ZgI/AAAAAAAABqc/KbeSMuXlv3k/s1600/2016-03-01%2B11.50.46.jpg" imageanchor="1"><img border="0" height="240" src="https://1.bp.blogspot.com/-_KXhQw5FYDU/VtY97u32ZgI/AAAAAAAABqc/KbeSMuXlv3k/s320/2016-03-01%2B11.50.46.jpg" width="320" /></a>&nbsp;</div><span style="color: #1f497d; font-family: &quot;Calibri&quot;,&quot;sans-serif&quot;; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; mso-themecolor: dark2;"><span style="color: blue;">Steffen demonstrating the benefit of<span style="font-family: serif;"> a cattle-based diet</span> and the ability to reach objects on high shelves</span> </span><br /><br /><span style="color: #1f497d; font-family: &quot;Calibri&quot;,&quot;sans-serif&quot;; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; mso-themecolor: dark2;"><span style="color: black;"></span><br /></span> <br /> Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-31312580416759287692015-06-13T02:49:00.001+01:002015-06-13T02:57:04.807+01:00The Meaning of TohoWhile enjoying my two week training stay in Japan, I thought I would put finger to keyboard and present a brief review of the many things I have learned from Ishido Sensei during this stay. Having three other friends with me for this trip meant I had to do quite a bit of translation but anything that prompts Ishido Sensei to speak more is a good thing. Having to translate it also puts it into a kind of English file format which I hope will remain in fairly good shape for reloading later.<br /><br />The thing which hit me strongest in this period is Sensei's use of the word "toho".<br /><br />刀 = to; <i>sword</i><br />法&nbsp;&nbsp; = ho; <i>law</i><br /><br />刀法 = sword method<br /><i> </i><br />This is also often translated into swordsmanship or sword methodology. The way Ishido Sensei uses it though is more along the lines of <i>efficient and effective use of the sword</i>. He has often used this term before to describe the objective of certain kata e.g. sogiri which have very little logical application as a scenario but instead are for developing one's toho or sword skills.<br /><br />What seems more obvious now though, as explained by Ishido Sensei, is the importance to develop one's toho; that knowing and running through the shape of the kata is not enough; one has to gradually develop the fundamental cutting parts. This is not described or explained in any particular detail in the seitei manual so I assume that this is something that is taught by teachers on an individual basis (<i>kuden</i> or oral transmission).<br /><br />I have written articles for the BKA news before which presented a dichotomy of a kata being either a situational one (<i>jokyo</i>) or a sword method one (<i>toho</i>). I also mentioned that most people of a senior grade actually looked at all the kata as toho development routes. If one considers this a bit more deeply, even in more ancient times, the chance that the exact same combative situation would arise as the one that a person had trained in must have been fairly low. It makes more sense that one is training the component parts of the kata rather than the situation the kata presents.<br /><br />Some of the toho points that were mentioned this week (at least one from Aurelien) include:<br /><br /><ol><li>Ensuring that the sword was turned completely to the side before sayabanare in ichimonji forms such as Seitei Mae to prevent the sword making a "double nukitsuke" i.e. the sword moves in a direction inconsistent to the cut when leaving the saya.</li><li>That the kissaki should move in an upwards motion when commencing kirioroshi instead of being pulled forwards.</li><li>That the second oblique cut in Sogiri requires the right hand to be slightly loosened and rotated to ensure that sword is completely on the centre at the end of the cut.&nbsp;</li><li>Hikinuki leading to ukenagashi ni kaburi can be achieved by softening the arms as the body turns.&nbsp;</li><li>That the small fingers should be properly on the tsuka while drawing the sword up in Nukiuchi with a kirite (cutting grip) so that at the moment of sayabanare the sword should move up and elevate to a near horizontal position immediately.</li></ol>Etc etc<br /><br />In the end one can see that toho is something of a science to be studied, learned, trained and mastered if one's iai is to be full rather than just being a collection of various forms. Having this well embedded would surely allow the warrior of times before be able to turn their hand to whatever situation arose, hence achieving <i>tsune ni itte, kyu ni awasu </i>(being in a state of calm, quickly adapting to the situation). Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-50619200160821633242015-05-24T16:40:00.000+01:002015-05-24T16:40:53.293+01:00The Wonder of Lists (oh, and some dummy’s guide for taking a grading)<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><br /><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style><![endif]--> <br /><div class="MsoNormal">Everyone loves a list, don’t they? It’s like the Readers Digest method for learning anything; reduce a whole group of concepts into lists, numbered or bullet pointed, and it somehow looks more attractive and easier to remember for us. In fact I memorised a list memory-retaining method for sticking some of these following points in my head while I was unable to write them down. Surely the word “listless” refers to the fatigue generated by trying to remember something without the ability to consign it to a list.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">Well, on this flight to Poland (the second time in as many weeks) I thought I would put together another of these lists and talk about what is usually never written down – a summary of all the unwritten “handy hints and tips” about taking a grading. Those of you that have had involvement with being “on the other side of the tablecloth” are surely aware of all the tiny reasons why grading candidates get docked one point or gain another but I’m sure this knowledge should be known equally by those for whom it is more important (and who definitely have some financial stake in it).</div><div class="MsoNormal">I should emphasise here that this whole article is my opinion only, some of it based on what I have heard from other panellists, some of it probably from my own feckin’ humble opinion. It’s not official and if you take note of it I won’t be held responsible for you passing, failing or the increase in number of odd socks. Hopefully though this will all be useful and I look forward to hearing some more good advice from those who read this and have had similar experiences…</div><div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;</span></span></span></div><br /><ol><li><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;</span></span></span>Dress for the occasion</u></li></ol><br /><div class="MsoListParagraphCxSpMiddle"><img alt="http://www.bullshido.net/gallery/data/2/usa_hakama.jpg" src="http://www.bullshido.net/gallery/data/2/usa_hakama.jpg" /> </div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">I always used to be fond of slightly worn and faded jodogi, like how jeans always look best after a few years of being used to wrangle horses or dig for coal. I have heard in the last few years though that faded jodogi aren’t good for gradings so with this in mind it seems that having blue arms, feet and possibly ears is more favourable than having a keikogi that shows that you have trained hard (or washed your keikogi in pure acid). For training and appearing at seminars one should be smartly dressed anyway. This doesn’t mean buying a new keikogi every year but things like holes in knees should be repaired and the kit should be clean. For the grading itself though, one should be wearing the best of what one has. In this instance, holes in the knees (or in the bicep area of the left arm depending on how you prefer to do tsuka-ate) is not a good thing. </div><div class="MsoListParagraphCxSpMiddle">It should be remembered that grading candidates are making a presentation of their iaido and jodo and showing the very best of what they can do. Commitment to your art might also include tying your hair back especially if it keeps getting in your eyes or getting stuck in your saya when you do noto. These are small, cosmetic things but everything counts (having once failed my 6<sup>th</sup> dan grading and then being told my hakama was too long I am sensitive to not letting others suffer the same treatment). Realising that not everyone can afford two sets of keikogi or even a decent sword, there’s nothing wrong, or rare, about asking to borrow something from your dojo colleagues (I mean like a hakama with no holes in, not 250 Euros for a new one).</div><div class="MsoListParagraphCxSpMiddle">No one is going to pass you solely for having been to the hair stylist before but if you look like you have just come out of the forest from a six-month “getting to know yourself” period then you might not get the best reviews from the panel. Oh, and the steam iron does often come with instructions in case you’re not sure how to use one.</div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">(…incidentally, the bottom of the hakama should be in line with the ankle bone)</div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2. <span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Arrive early (like one year before)</u><br /> <br /><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">Why wouldn’t this be an obvious one? Get there early and you have time to get dressed properly, warm up, do some practice, ensure you know where to go and what to do, keep warm, get re-dressed and then get bored of course. Seriously though, it’s important that you are not flustered before the grading and in all the activity to get registered and get to the right place it is possible to lose one’s cool. When everything else is ready though, you can sail over to get your “certain to fall off during the grading” sticky number and then be ready to perform. </div><div class="MsoListParagraphCxSpMiddle">As I get older and generally lazier, I am starting to realise how much my performance is affected by how “warmed up” I am. I don’t just mean a minute of jogging, I mean every muscle woken up, exercised, stretched and ready to move. My best iai for example is normally done at the end of our regular 2-hour sessions, not five minutes from the start.</div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3. <span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>The Pre-Grading Seminar</u><br /> <br /><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><img alt="http://www.coopersofstortford.co.uk/images/products/large/st09021i.jpg" class="shrinkToFit" height="400" src="http://www.coopersofstortford.co.uk/images/products/large/st09021i.jpg" width="400" /> </div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">In the BKA and I suspect in many other countries, it is not compulsory to attend the pre-grading seminar to take and pass one’s grading. In these cases one cannot be failed for not attending the pre-grading seminar. <span style="mso-spacerun: yes;">&nbsp;</span>It would, however, be a bit stupid not to. I mean why wouldn’t you? Here is a chance to:</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a)<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Get a sneak preview of what exactly the grading panel will be looking out for (hint: it will probably be footwork).</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b)<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Allow the seniors (who will probably be the examiners) a chance to see you perform so that they know you have trained hard and fulfil the “depth of practice” criteria (yes, this is a criteria as one ascends the grades).</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c)<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Do some training and maybe push your 99% of what is required for the grading to the 103% for what is required.</div><div class="MsoListParagraphCxSpLast" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d)<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>If you lucky and are told the shitei waza in advance of the grading then you can focus on those kata and make sure that you are doing them to the very best of your ability.</div>I am painfully aware that on more than one occasion, someone who has failed a grading has asked a panellist why and been told “because you didn’t come to the seminar yesterday”. I am now almost certain that the meaning of this wasn’t <div class="MsoNormal" style="margin-left: 36pt; text-align: justify;"><br /></div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify;">“you didn’t attend so we failed you” </div>but…<br /><br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; “you didn’t attend and didn’t get told the important things to focus on and then you didn’t&nbsp;&nbsp; perform them so we failed you”.<br /><br />Of course, life happens and sometimes one might be too busy to attend the pre-grading seminar. In that particular case it might be better to consider that now is not the perfect time to take the grading although one should of course be ready to take the grading before attending the pre-grading seminar which leads us onto the contradiction of….<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">&nbsp;</span></span><br /><br /><br /><br /><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4. <span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Be ready to take the grading before attending the event</u><br /><br /> <br /><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">Yes, I know that this kind of contradicts point 3. but the meaning of this is for you to be as prepared as you can be before the event. Don’t attend the pre-grading seminar with the expectation that you will learn everything you need to pass in that one-day session. Hopefully your own teacher will have got you adequately prepared for the grading. Also hopefully you will have attended a few seminars before your grading and received some useful input from other seniors. Remember, for iaido and jodo this is generally a seitei-based examination. What you do in your dojo is your own business but the examination is based on an international standard and with its occasional “gaps in detail for personal interpretation”, it wouldn’t harm to know what other people, more senior than you, make of these personal interpretations.</div><div class="MsoListParagraphCxSpMiddle"><br /></div><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">&nbsp;</span></span><br /><br /><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>If you can’t do the difficult stuff well then you need more training; if you don’t do the easy stuff well, you’re an idiot</u><br /> <br /><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">&nbsp;<img height="298" id="irc_mi" src="http://www.newslinq.com/wp-content/uploads/2014/06/84143229.jpg" style="margin-top: 0px;" width="400" /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">I make light of this but it is also incredibly important. Easy stuff like reiho, putting on your hakama the right way, standing in keito shisei etc. requires the minimum of physical fitness, flexibility and skill. It is stuff that you have to learn and then show that you have learnt it. Speaking personally, on the few times I have been on a grading panel if I see someone do something like reiho incorrectly I don’t necessarily make a big thing of it but I do then keep an eye out for other fundamental stuff being done correctly (or not). It wouldn’t surprise me if a. other people think the same way or b. I learnt this from my seniors (and so read a.)</div><div class="MsoListParagraphCxSpMiddle">Jodo, whilst having less to do in reiho, has similar easy things that need to be remembered but which require virtually no physical exertion or coordination such as:</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Not bringing your feet together at the end of the kata</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Not bringing your feet together when you walk back to your start line</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Not bringing your feet together when you start a kata</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>You get the point, I’m sure</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto;"><br /></div><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">&nbsp;</span></span><br /><br /><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6. <span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Behave yourself before the grading</u><br /> <br /><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">By this I don’t mean spend the morning in quiet meditation but before the examination it might be better not to:</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Indulge in with wrestling your dojo colleagues like a bunch of piglets.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Get drunk at lunchtime.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Fall asleep in the dojo with your hakama hitched up to your thighs.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Practice your exotic and unique koryu (unique, just like everyone else’s) when you are just about to do 5 seitei shitei waza (or amounts more than 2).</div><div class="MsoListParagraphCxSpMiddle">Everyone deals with pre-grading stress in their own way but it is important to display some decorum before you get elevated to your lofty new responsibilities. It is also important not be outside drinking coffee when the grading officials are looking for you.</div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7. <span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>This is your grading and your life force is limited</u><br /> <br /><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">This is more particular for jodo than iaido. Quite often someone going for, say, 4<sup>th</sup> dan will do uchidachi for someone going for, say, 2<sup>nd</sup> dan. This of course is done out of nothing but kindness for others, showing willingness to sacrifice one’s own time and effort for the benefit of others. </div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">Unfortunately it says some other things to the grading panel such as:</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l3 level1 lfo3; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>“I am so good at jodo that I can focus on this person’s katas as well as my own”</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l3 level1 lfo3; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>“I don’t need to train with my grading partner that much in preparation for my grading”</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l3 level1 lfo3; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>“I’m going to leave my number attached just to make the grading a little bit more challenging for the panel”</div><div class="MsoListParagraphCxSpLast" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l3 level1 lfo3; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>“I want you to watch all my mistakes not once but twice, or more, just so you can be sure that I’m doing stuff wrong”</div><div class="MsoNormal" style="margin-left: 36.0pt;">None of the good reasons for partnering someone else before your own grading are as impacting as those above (in my opinion). All gradings should be treated with some seriousness (there are almost certainly people other than you who have contributed something to getting you ready to take your grading) but this seriousness doesn’t shine through if you appear already sweaty and with your number label tsuki’d to death. There are almost certainly other people not taking a grading who can partner someone for theirs.</div><div class="MsoNormal" style="margin-left: 36.0pt;"><br /></div><div class="MsoNormal" style="margin-left: 36.0pt;"><br /></div><div class="MsoNormal" style="margin-left: 36.0pt;"><br /></div><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8. <span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Read the regulations, dammit!</u><br /> <br /><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><img alt="http://lawsonstone.seedbed.com/files/2013/03/Heston-tablets-Commandments.jpg" class="shrinkToFit" height="400" src="http://lawsonstone.seedbed.com/files/2013/03/Heston-tablets-Commandments.jpg" width="319" /> </div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle">Actually, there are some rules for being a grading panelist (a whole course in the UK) and there are even some rules about being a grading candidate that might be useful to read. For example, many countries don’t allow people to take a grading of ikkyu and above with a bokuto but still some people turn up with one. Usually these rules are on federations’ websites or are available from the grading officer. Just like your first time for diffusing a nuclear bomb, you might want to read the instructions first.</div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">9. <span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Sticky means slowly</u><br /> <br /><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle"><img alt="http://img2.wikia.nocookie.net/__cb20120325145054/uncyclopedia/images/e/ed/25-MPH-Regulatory-Speed-Limit-Sign-with-Radar-Sign.jpg" src="http://img2.wikia.nocookie.net/__cb20120325145054/uncyclopedia/images/e/ed/25-MPH-Regulatory-Speed-Limit-Sign-with-Radar-Sign.jpg" /> </div><div class="MsoListParagraphCxSpMiddle">Could that be the title of the new Rolling Stone album? Anyway, this generally refers to the fact that most of the parts of katas which require some skilful coordination are trained, demonstrated and performed a bit slower than the simpler movements. A simple downward cut is difficult to do extremely well but is also difficult to completely mess up. This is why generally kirioroshi is done quickly, right? But let’s look at a few example more-complex parts that people make a complete hash of because they try to do it quickly when in fact there is no requirement to do them like that:</div><div class="MsoListParagraphCxSpMiddle"><br /></div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Mae: Furikaburi – of the seven grading points for this form, three (although I count four really) are directly referring to or have strong correlations with how furikaburi is performed. Furikaburi is not required to be performed quickly, in fact most teachers want to see some contrast in speeds between furikaburi and “cuttier” bits like nukitsuke and kirioroshi. And yet people love to bring the sword straight up onto the centreline, drop the tip, bring their right arm in front of their eyes. Don’t do it; take your time; get to the choppa (taking all necessary care)!</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Hissage/Kasumi/Tachiotoshi/Raiuchi/Midaredome: Gyakute no kamae – when standing like a lemon in awase at the beginning of these forms one should be gripping the jo in a relatively strong gyakute grip. Why some people seem to think that gently pinching the jo between thumb joint and forefinger like picking up a piece of toilet paper stuck to one’s shoe is correct is slightly mysterious. Oh, and right now the grading panel are now looking at you standing there like that wondering what else you are going to do wrong.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Shihogiri: Wakigamae<span style="mso-spacerun: yes;">&nbsp; </span>- no wakigamae, no cigar! There is one requirement of this kamae in this form – that it exists! If you lower the sword into gedan and then turn the body and lift the sword up then you have just skipped one of the vital parts of shihogiri (a bit like driving to work without a leg). It’s not difficult, it doesn’t require speed or athletic prowess, it definitely annoys the panel when it’s not there.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Err, everything: Metsuke – I suspect that Japanese sensei scream about metsuke more because it requires more effort to do it wrong than doing it right. Perhaps I am being too harsh though, the rules are pretty simple:</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 108.0pt; mso-add-space: auto; mso-list: l0 level2 lfo4; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Look at what you are doing and where you are going</div><div class="MsoListParagraphCxSpLast" style="margin-left: 108.0pt; mso-add-space: auto; mso-list: l0 level2 lfo4; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Refer to a.</div><div class="MsoNormal" style="margin-left: 72.0pt;">There are a few variations on where to look in different parts of the kata but generally one looks into the distance during the fight (like, kinda, at the opponent) and looks down at the end of the fight (just to check that their opponent has fallen into a dignified position and isn’t showing their ankles). For seitei iai, when you bow to the sword, you look at the sword as you bow even if you are maintaining some magical 360° spatial awareness. When you are bowing to the shomen you look towards the floor and don’t keep peering forwards like you’re afraid the wall is going to fall on you. When you are walking back to the start line you try to judge your position based on your warrior-special-powers of recognising where on the planet you are, you don’t look down at the start line to make sure that no chipmunks have taken residence there.</div><div class="MsoListParagraph" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">e.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Start line – known as the “kaishisen” which means “there is a trapdoor to some crocodiles in front of this line”. Between kata it is enough to return to being close to this line, if you are a bit in front – no problem, if you are bit behind – no problem. Skilled taikai exponents will adjust themselves in relation to the kaishisen so that they don’t step out of the shiaijo area or decapitate a judge (thus potentially costing them a flag). At the beginning and end of the grading though one should be careful to be behind the line. Up to a certain level in iaido (let’s arbitrarily say nidan) it’s not a problem to kneel on the line to do one’s torei, after that though one should check what is fashionable at the moment.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">So there you have it. Nine beautifully formed, evenly sized, cream-filled slices of strawberry grading advice.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">I am now off to catalogue my spice rack….</div><div class="MsoNormal"><br /></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-6779305964350709912015-05-20T08:18:00.000+01:002015-05-20T08:18:06.784+01:00Polish Iaido and Jodo National Championships 2015<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--> <div class="MsoNormal">So after a wonderful four days of teaching, judging, examining, demonstrating, eating, drinking and generally putting on weight, I am now home with a wonderful set of memories of an excellent event and meeting some wonderful people.</div><div class="MsoNormal">During the iaido championships I made some notes about common mistakes that people were making and we rushed through these points on the Sunday. I was painfully conscious that providing people with information in this format (a quick chat and a quick demo) is rarely useful as retention is minimised so I have here listed these points to add an additional 5% chance of them being retained…</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><u>The Easy Stuff (previously known as “Easy Sh!te” but changed to be polite)</u></div><div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Keito Shisei</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Ensure the position of the sword is 45° but also ensure the position of the hand is correct. In general some part of the left hand should be in contact with the obi but many people position their hand on the upper thigh.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Shomen ni rei</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>This should only be 30° but very often the upper body dips below 45°. Also make sure that the metsuke naturally drops and that you don’t keep the eyes looking up and forwards.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Mae</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Make sure when sitting in seiza that there is no gap between your arms and your body. You don’t need to clamp your arms tight but there shouldn’t be sunlight coming through. </div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>When making the nukitsuke ensure that the sayabiki makes the saya position itself not only horizontally but that it is rotated so that the saya’s hasuji is pointing towards the rear. Many people have the saya in the same orientation (i.e. up). </div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Ochiburi should of course be as close to 45° as possible but also make sure that the sword doesn’t elevate during the fumikae (foot change) movement as this is very common and makes a small error even worse.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Regardless of your koryu, seitei noto must start at the centre of the body (i.e. sword and koiguchi meet at the centre) and should start from the tsubamoto (close to the tsuba). Many people pull the sword around the left to meet the saya.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Ushiro</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Ensure that the sword is brought at least close to the centre of the body before sayabanare. Many people draw too far to the front right diagonal meaning that they would miss the opponent.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Ukenagashi</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Sword must cover head with the “bo” portion of the sword i.e. the third closest to the tsuba.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>At the moment of the deflection stance being made, the feet must be in the configured with the right toes kicking into the middle of the left foot (in the Japanese “i” katakana shape). Many people are in the Jikiden Ukenagashi position at this point. </div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The body should be completely turned to face the shomen in this deflection position.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The kissaki must not finish to the right of one’s body centreline at the end of the cut and not too low.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Kesagiri</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>During the chiburi, the left hand must properly grip the koiguchi and this must happen before the end of the cutting action. Many people push the koiguchi down using the palm and too late.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Sanpogiri</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The final cut should show some small contrast to the first two cuts i.e. the first two cuts are very static and grounded, the third cut should be dynamic and the preparation should lend itself to this.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Ganmenate</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Ensure the first strike to the face is decisive using the left hand.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>It is very important to show the clear change of line during the turning to the rear tsuki and especially for the final cut.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Soetezuki</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Instead of turning the right foot too early on the final step (a historically popular mistake) many people move the right foot to the right front diagonal thus moving them too far away from the opponent.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The cut must be clearly from the shoulder and not from the belly. Many people drop their right hand too early making this cut a flick to the belly.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The fingers beneath the blade still show very easily even in this age of climate change and global economic disaster.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Shihogiri</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>No wakigamae, no cigar! If wakigamae is not clearly visible then it never happened.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>It is important to make clearly defined cuts and not blend one into the other especially with regards to making correct metsuke. Look first and then cut.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp; </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Sogiri</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The “ukenagashi ni kaburi” (going through ukenagashi to bring the sword above the head) must still properly cover the head with the “bo”. Many people make this action bringing the right hand onto the centreline.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Preparation for the sideways cut must be made properly.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Don’t blend the end of the 4<sup>th</sup> cut with the beginning of the 5<sup>th</sup> cut i.e. don’t whip the sword across and up withouth making clear cuts and clear kaburi.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp; </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Final torei</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Don’t hook the forefinger over the tsuba. The finger should be pressed onto the edge of the tsuba, not hooking over it.</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The left hand must slide from around the middle of the saya, many people slide from the top.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>General for taikai</div><div class="MsoListParagraphCxSpLast" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>If you get knocked out, don’t go and get changed and go for a sleep. This is your prime opportunity to learn why you lost your match and you can learn from some of the best sources how to improve your performance (i.e. your peer group).</div><div class="MsoNormal"><br /></div><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style><![endif]-->Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-37683320441512678702014-08-27T18:35:00.001+01:002014-08-27T18:35:29.184+01:00Owning upLast night I had dinner with the ex-Chaiman of the BKA, an extremely pleasant and balanced gentleman by the name of Errol Baboolal Blake. We have known each other for a number of years and Errol was largely responsible for the complete restructuring of the BKA resulting in the highly democratized and process-driven association we have today. Errol noted during the evening that to many, the appearance of my character was "pointed" or "sharp" and he thought it was important that people also showed their "blunt" side in order to be well rounded as martial artists. Quite a full debate ensued but one key part of it was me sharing what I had written for my Iaido Renshi examination which in my honest opinion is how I feel about budo and ones interaction with it. <br /><br />So, I thought now would be a good time to share these thoughts with the community of faithful followers of this blog. Here is the initial English draft which was translated into Japanese with a few small bits cut out.<br /><br />________________<br /><br /><u>The Significance of the Sword</u><br /><br /><br /><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><br /><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style><![endif]--> <br /><div class="MsoNormal">In my Iaido training in more recent years I have tried my best to ensure that my activities with Iaido contain both aspects of Katsujinken and Setsuninto. In the study of Setsuninto, this means training that is highly technical and concerned with survival in a combat situation. In this case it is with reference to the main points for examination and judging taikai particularly those concerned with technical skill that are important:</div><div class="MsoNormal"><br /></div><br /><ul><li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"></span></span>Correct height, position and angle of sword<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"></span></span></li><li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Correct cutting and drawing<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;</span></span></span></li><li>Correct ashisabaki and taisabaki</li><li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Ma and maai</li><li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Compliance with the main points from the ZNKR Iaido Manual</li></ul><br /><div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><br /></div><div class="MsoNormal">In the study of Katsujinken, this means that when one is doing kata one must be aware of the life of ones enemy, not just so that one can cut down the enemy but that one might prevent the fight and achieve “saya no uchi no kachi”. In this case it is with reference to the main points for examination and judging taikai:</div><div class="MsoNormal"><br /></div><br /><ul><li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Metsuke</li><li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Zanshin</li><li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Ochitsuke (calmness)</li><li> Depth of training</li><li><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span>Kigurai, hin’i and fukaku</li></ul><br /><div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><br /></div><div class="MsoNormal">If someone can master these points above then one should be able to control the encounter: to injure instead of kill; to subdue instead of injure; to inspire peace rather than war.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">When one trains in these Katsujinken points it then becomes easier to realise that the purpose of one’s training is not just about self-centred improvement but generally using Iaido to bring good things into the life of others.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">When instructing others in Iaido I try to balance the emphasis between technical points and those which reflect the mental state. Through concentration on jo-ha-kyu and kan-kyu-kyo-jaku one is able to quickly combine and switch between aspects of setsuninto (killing the enemy) and katsujinken (saving the enemy). Of important consideration I believe that the –ken of katsujinken refers to the double edged tsurugi with one edge facing the enemy and one facing the self. In my mind this reverse edge is for the dual purpose of cutting off unnecessary and unwanted parts of the ego as well as reminding that any attack on a person is also an attack and a degradation of the self.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">Finally, I try to emphasise to the people that I teach, the words of our shisho, that the luxury of being able to train in budo is due to the cooperation and goodwill of others and we should be thankful and considerate to those that provide that opportunity through their sacrifice.</div><div class="MsoNormal"><br /></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-10925994275069253272014-05-01T15:02:00.000+01:002015-03-24T19:17:05.681+00:00Parts of the sword<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-XkFDMuoOuFc/U2JTc48h-oI/AAAAAAAABUQ/PtgJd8xUAtU/s1600/Sword+areas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div><i>Please note that I have updated this post with an addition of the term "tsubamoto" meaning the area of the sword closest to the tsuba. Initially I didn't include this as it was my impression that the tsubamoto wouldn't have included the entire lower third of the sword but after discussing this with a budo friend I decided to include it.</i> <br /><br />Just recently it has been raised to my notice that a particular aspect of iaido has been mentioned at seminars but there isn't anything I can find on the interwebs about it. It concerns the three main areas of the blade of the katana. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-R42M2vhcO_g/VRG30nQ8aNI/AAAAAAAABn4/-A-vHa4IVTA/s1600/Slide1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-R42M2vhcO_g/VRG30nQ8aNI/AAAAAAAABn4/-A-vHa4IVTA/s1600/Slide1.JPG" height="240" width="320" /></a></div><br /><br />Some years ago in Eindhoven, Kishimoto Sensei taught us that the blade area can be divided up into three main zones.<br /><br />The closest zone to the tsuba is, what most people would expect it to be, the area for defending oneself (it is the zone which is used in the initial contact of the seiteigata Ukenagashi). This zone is called the "Bō" (no relation to the Japanese staff) and is referred to also as the "tsubamoto" (origin or zone of the tsuba).<br /><br />The middle zone is called "Sei" meaning control i.e. this is the region that controls the enemy's sword during a deflection or similar movement. It is also referred to as the "nakahodo" (meaning approximate centre).<br /><br />The zone closest to the end is called "Satsu" (or "Setsu") meaning the killing region. This region is also known as the monouchi.<br /><br />That said, I sense a sudden increase in site traffic from people about to answer their iaido gakka...Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com5tag:blogger.com,1999:blog-7380831531289624078.post-44555009879996611092013-04-07T06:28:00.000+01:002013-04-07T06:28:39.173+01:00Blogpost Special – Judging Points for Iaido and Jodo <div style="margin-bottom: 0cm;">Just between me finishing off the 3-part (or possibly more) article I am writing at the moment on the Suio Ryu Taikai I thought I would quickly bash off a short posting on judging points for iaido and jodo. Considering the emphasis that Ishido Sensei has given to these at recent event I think they can be considered to be useful points to concentrate on whether one is training for a taikai, towards a grading or simply deepening their training experience. The points are taken from a section in each art’s judging rules and comes as a list of items to consider in no particular order of emphasis. I have translated specialist words where necessary if they happen to be terms which the exponent might want to learn (I have omitted well-known words such as <i>chiburi</i>where if the reader doesn’t know them then they need to learn fast).</div><div style="margin-bottom: 0cm;">It is slightly interesting that both iaido and jodo essentially require the same criteria albeit there are one or two specific to the art.</div><div style="margin-bottom: 0cm;"> I hope you find these useful…</div><div style="margin-bottom: 0cm;"><br /></div><div align="CENTER" style="margin-bottom: 0cm;"><b>Jodo Shiai – Refereeing Rules (Originally Published 1</b><sup><b>st</b></sup><b>July 1997)</b></div><ol><li><div style="margin-bottom: 0cm;">Fullness of spirit.</div></li><li><div style="margin-bottom: 0cm;">Correct posture.</div></li><li><div style="margin-bottom: 0cm;">Correct balance of strength and softness of strikes and thrusts.</div></li><li><div style="margin-bottom: 0cm;">Ma (timing) and ma’ai (distance).</div></li><li><div style="margin-bottom: 0cm;">Metsuke.</div></li><li><div style="margin-bottom: 0cm;">Zanshin.</div></li><li><div style="margin-bottom: 0cm;">Reiho.</div></li><li><div style="margin-bottom: 0cm;">Ki-jo-tai no ittsu (Spirit-jo-body as one).</div></li><li><div style="margin-bottom: 0cm;">Whether it is logical as budo.</div></li><li><div style="margin-bottom: 0cm;">Accordance with the ZNKR Technical Manual – special points for consideration for examinations and taikai.</div></li></ol><div align="CENTER" style="margin-bottom: 0cm;"><br /></div><div align="CENTER" style="margin-bottom: 0cm;"><b>Iaido Shiai – Refereeing Rules (Originally Published 1<sup>st</sup> October 1996)</b></div><ol><li><div style="margin-bottom: 0cm;">Depth of practice.</div></li><li><div style="margin-bottom: 0cm;">Reigi (correct behaviour and etiquette).</div></li><li><div style="margin-bottom: 0cm;">Technique:</div><ol type="I"><li><div style="margin-bottom: 0cm;">Correct nukitsuke and kiritsuke (drawing and cutting).</div></li><li><div style="margin-bottom: 0cm;">Correct sayabanare and hasuji (release of sword and blade angle).</div></li><li><div style="margin-bottom: 0cm;">Correct chiburi with angle.</div></li><li><div style="margin-bottom: 0cm;">Correct noto.</div></li></ol></li><li><div style="margin-bottom: 0cm;">Kokorogamae (preparedness, readiness):</div><ol type="I"><li><div style="margin-bottom: 0cm;">Calmness.</div></li><li><div style="margin-bottom: 0cm;">Metsuke.</div></li><li><div style="margin-bottom: 0cm;">Kihaku (spirit, vigour), zanshin, ma (timing) and ma’ai (distance).</div></li></ol></li><li><div style="margin-bottom: 0cm;">Ki-ken-tai no ittsu (Spirit-sword-body as one).</div></li><li><div style="margin-bottom: 0cm;">Whether it is logical as budo.</div></li><li><div align="JUSTIFY" style="font-weight: normal; margin-bottom: 0cm;"> Accordance with the ZNKR Technical Manual – special points for consideration for examinations and taikai.</div></li></ol>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com11tag:blogger.com,1999:blog-7380831531289624078.post-21545417499511931372013-03-21T16:20:00.000+00:002013-03-21T16:20:38.056+00:00Suio Ryu Koden Embu Taikai, Katsujinken Setsuninto and the Rest of the Universe – Part 2<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><br /><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <w:DoNotOptimizeForBrowser/> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; mso-pagination:widow-orphan; font-size:11.0pt; mso-bidi-font-size:10.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style><![endif]--> <br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-4G03vZTMkU0/UUsyFoNNXpI/AAAAAAAAAQk/RoSI7PwmiHc/s1600/533565_10151315563236153_1150544780_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-4G03vZTMkU0/UUsyFoNNXpI/AAAAAAAAAQk/RoSI7PwmiHc/s320/533565_10151315563236153_1150544780_n.jpg" width="320" /></a></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal">What else might this imply in terms of this separation from reliance on one’s teacher? Let’s look at some individual aspects:</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b>Seminar attendance: </b>regularly attending seminars is a great way for obtaining and absorbing a breadth of information. I rarely see a seminar as being a chance to do hundreds of forms but rather a learning activity of new matter OR the same matter but explained and demonstrated in a different way.<span style="mso-spacerun: yes;">&nbsp; </span>One gets to learn from potentially higher graded and more experienced teachers than one’s own dojo teacher as well as the much underrated experience of learning from one’s peers and even juniors. I think that every single person has something to offer in terms of learning martial arts, which although sounds a bit woolly, I should add means not that everyone can directly teach something of the art but, for example, watching a complete beginner struggle to get through a technique is in itself valuable and interesting data.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b>Reading and research: </b>by this I mean to not limit absorption activities to just reading the written word as I am aware that there are many other sources to learn from including video and audio media. Reading the thoughts and opinions of very senior teachers has been very inspiring personally and is another underrated and underused form of study especially when it comes to Koryu.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b>Taikai: </b>yes, here it comes, the banner flying for taikai against all forms of criticism! Yes, budo is not a sport and maybe a competitive spirit is not in alignment of the budo spirit (or so some might think) but surely any activity which pushes the individual to try their very best to “beat” another person is exactly the basis of all martial arts. I have personally learned so many aspects of budo, both standardized and Koryu, from taikai I can’t understand why people limit themselves by avoiding them. Surely just coming to watch some spirited performances would be a useful insight into one’s art…?</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b>Self-critique: </b>I am going to emphasise this again as I’m not sure I convey how important this is. Limiting one’s self-evaluation to using your own eyes in realtime while doing a form has limited use as a) perspective is important (parallax error being a great example of how to mess up angles terribly) and b) the act of observing itself is likely to change what one does during a form. I like the idea of using mirrors although that in itself suffers similar problems to those immediately above. Video, from various angles and heights, is an indescribably useful medium for learning about one’s own performance.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b>The body you train with:</b> this might be a new thought to many people (albeit not those who have done any kind of coaching course I am sure. Looking after your own health is an important and instrumental part of one’s martial arts training – isn’t it? I don’t believe that in martial arts the student should rely on their teacher to tell them how to look after themselves in terms of health. Why not? For the same reason that I don’t ask my sensei where I should park my car when I come to training or which way to drive to the dojo or from which bank account to pay for dojo subs. They are all strongly associated to my personal application of martial arts training but are probably utterly irrelevant to everyone else. I know when to say to a dojo member that they should warm up and stretch more than they do but I am not keen on providing life coaching to anyone. That is a responsibility that each student must assume for themselves. I won’t tell anyone that they should lose weight, gain weight or lose a limb – that’s up to them. However, from this student’s perspective what is important about bodily health? It’s a fairly general term but I think it applies to a number of criteria:</div><div class="MsoListParagraphCxSpFirst" style="line-height: 115%; margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Cardiovascular fitness: this means that a general amount of exercise doesn’t leave you lying in a heap on the floor. Neither Iaido nor Jodo are generally aerobic enough to create or demand an athletic level of fitness but it certainly doesn’t help if exhaustion is holding back one’s training during important parts of a training episode (like when at the end of the seminar the sensei says “and now for something completely different”). Doing some work to maintain a good level of cardio fitness will often contribute to the other following criteria.</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 115%; margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Limb and core strength: meaning muscular strength in the arms, legs, connecting joints, trunk and back. Iaido and Jodo for me seem easier to perform well when the legs are feeling strong, warmed up and able to carry oneself quickly and efficiently around the katas. Building up some strength in the arms means that less consciously applied effort is required to make sharp and powerful cuts, strikes and thrusts. Having good core strength improves stability of posture and reduces the effort required to move around.</div><div class="MsoListParagraphCxSpLast" style="line-height: 115%; margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Flexibility: this is so important to asymmetric arts like iaido which is strange when one thinks about what are important physical actions in the kata i.e. sayabiki, the ability to turn and look fluidly. Iaido can destroy flexibility and it requires it as well. What does this tell us? It says that we have to supplement our normal training to drive that inflexible condition away. I leaned a couple of years ago that Morishima Kazuki Sensei (Ishido Sensei’s star pupil) did about 30 minutes of stretching before he started training. I’m sure that’s not the sole cause of him being so good but it must surely be a significant factor. As soon as I started applying a proper stretching regime to my training I found my legs and feet starting to be used in a constructive manner rather than being long blobs of tripping hazard.</div><div class="MsoListParagraphCxSpLast" style="line-height: 115%; margin-left: 72.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><br /></div><div class="MsoNormal">So, that’s quite a long diatribe concerning passing gradings, something that I can sit smugly and cast advice about. What I really mean to convey though is that as the gradings get more advanced, especially around 4<sup>th</sup> dan, candidates need to start taking care of their own training, progress and preparation. </div><div class="MsoNormal"><br /></div><div class="MsoNormal">Getting back to the taikai, it was very interesting to judge as there were four Iaido koryu styles present and various subsets within those including:</div><div class="MsoNormal"><br /></div><div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Suio Ryu – generally the whole group under Robert Rodriguez Sensei</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Muso Shinden Ryu:</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18.0pt;"><span style="font-family: &quot;Courier New&quot;; mso-fareast-font-family: &quot;Courier New&quot;;"><span style="mso-list: Ignore;">o<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp; </span></span></span>Poznan (Adam Kitkowski) under Ishido Sensei via Momiyama Takao Sensei</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18.0pt;"><span style="font-family: &quot;Courier New&quot;; mso-fareast-font-family: &quot;Courier New&quot;;"><span style="mso-list: Ignore;">o<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp; </span></span></span>Wroclaw (Michal Szczepanski) under Murakami Sensei</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18.0pt;"><span style="font-family: &quot;Courier New&quot;; mso-fareast-font-family: &quot;Courier New&quot;;"><span style="mso-list: Ignore;">o<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp; </span></span></span>Czech Republic (Tomas Kyncl) under Ogino Sensei</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18.0pt;"><span style="font-family: &quot;Courier New&quot;; mso-fareast-font-family: &quot;Courier New&quot;;"><span style="mso-list: Ignore;">o<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp; </span></span></span>Gdnia (Dariusz Leszczyński) under Ishido Sensei via various sensei’s</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18.0pt;"><span style="font-family: &quot;Courier New&quot;; mso-fareast-font-family: &quot;Courier New&quot;;"><span style="mso-list: Ignore;">o<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp; </span></span></span>Other parts of Poland (Krztof Górnicki) under Inoue Sensei</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Muso Jikiden Eishin Ryu:</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18.0pt;"><span style="font-family: &quot;Courier New&quot;; mso-fareast-font-family: &quot;Courier New&quot;;"><span style="mso-list: Ignore;">o<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp; </span></span></span>Katowice (Lukasz Machura) under Oshita Sensei via Henry Schubert Sensei</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72.0pt; mso-add-space: auto; mso-list: l1 level2 lfo2; text-indent: -18.0pt;"><span style="font-family: &quot;Courier New&quot;; mso-fareast-font-family: &quot;Courier New&quot;;"><span style="mso-list: Ignore;">o<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp; </span></span></span>Krakow (Michal Nowakowski) under Iwata Sensei via Neil Kemp Sensei</div><div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Tamiya Ryu – generally the whole group under Patrik DeMuynck Sensei</div><div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-ZYjbT3J_d2g/UUsyY-FivqI/AAAAAAAAAQs/MBOVB4tZppA/s1600/575274_389242597819337_1852692612_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-ZYjbT3J_d2g/UUsyY-FivqI/AAAAAAAAAQs/MBOVB4tZppA/s320/575274_389242597819337_1852692612_n.jpg" width="320" /></a></div><div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><br /></div><div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><br /></div><div class="MsoNormal">With all these potential variations it was impossible to lay too much emphasis on judging on technical correctness (there was no seiteigata in the taikai). Robert spoke to the judging group and said to judge on what you could perceive from the heart of the performance. </div><div class="MsoNormal">The taikai started and the judges sat down ready (feeling slightly bemused, or was it confused?) but within a short period of time we became used to judging not on the minutia of the technique but other things, more difficult to describe.</div><div class="MsoNormal">For me it began to resound with something that Ishido Sensei had spoken about before in articles and explanations. This issue had been explained to him by his father, Ishido Sadatoro Sensei, as the essence of Niku-Sanke, a nature which is present in styles of Iaido.</div><div class="MsoNormal">Rather than present my own memory of this explanation I have pasted in below the article excellently translated by Richard Stonell and published in Kendo Nippon in an article with Ishido Sensei:</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 11.0pt;">My father was not the kind of man to make detailed comments when I was training like this. He would only repeat a single phrase occasionally: “remember the ‘two <span style="mso-bidi-font-style: italic;">ku</span>’ and ‘three <span style="mso-bidi-font-style: italic;">ke.</span>’”</span></i><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-font-size: 11.0pt;"></span></i></div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 11.0pt;">The ‘two <span style="mso-bidi-font-style: italic;">ku</span>’ are <span style="mso-bidi-font-style: italic;">ochitsuku</span>(calm and relaxed) and <span style="mso-bidi-font-style: italic;">hayaku</span>(quickly). The ‘three <span style="mso-bidi-font-style: italic;">ke</span>’ are <span style="mso-bidi-font-style: italic;">metsuke</span>, <span style="mso-bidi-font-style: italic;">nukitsuke</span> and <span style="mso-bidi-font-style: italic;">kiritsuke</span>. These are, regardless of the school or the technique, the absolute fundamentals of iai. I came to realize more and more that no matter what kind of practice you are doing, these ‘two <span style="mso-bidi-font-style: italic;">ke</span>’ and ‘three <span style="mso-bidi-font-style: italic;">ku</span>’ should be the foundation. However, at the time my father was telling me this, I didn’t yet understand properly, so I thought of these words simply as something my father liked to say.</span></i><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-font-size: 11.0pt;"></span></i></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-bidi-font-size: 11.0pt;">From this I tried to spot these elements in the competitors’ performance by asking myself the following questions:</span></div><div class="MsoNormal"><br /></div><br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-bidi-font-size: 11.0pt;">Is the exponent calm and relaxed so that the techniques are soft and sharp (ochitsuku)?</span><br /> <br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-bidi-font-size: 11.0pt;">Does this softness build into natural speed and power (hayaku)?</span><br /> <br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-bidi-font-size: 11.0pt;">Do they maintain good metsuke which shows clearly where the opponent is?</span><br /> <br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-bidi-font-size: 11.0pt;">Is their nukitsuke (or opening attack) performed with decisiveness and clarity?</span><br /> <br /><span style="mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-bidi-font-size: 11.0pt;">Is their kiritsuke (or finishing attack) delivered with a sense of finality and natural power?</span><br /><br /> <br /><div class="MsoNormal">I started trying to vote on these criteria and found my voting to be closer to the other judges (rather than standing out like a plum). Judging and deciding became a lot easier once stability also became a part of the criteria.</div><div class="MsoNormal">Towards the end it became obvious who was going to reach the finals. It was a very interesting experience trying to develop a method of judgement when adherence to geometric form no longer became under critique.&nbsp;</div><div class="MsoNormal"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-y4vkDgq0tos/UUsymrbERLI/AAAAAAAAAQ0/XsPKwBefHQI/s1600/248866_389868214423442_1952478420_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-y4vkDgq0tos/UUsymrbERLI/AAAAAAAAAQ0/XsPKwBefHQI/s320/248866_389868214423442_1952478420_n.jpg" width="320" /></a></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal">At the end of the presentations I offered a prize to one of Robert’s students who I thought, while his embu wasn’t beautiful per se, it showed what I thought were lots of the five criteria listed above. </div><div class="MsoNormal">In the next and possibly final part of this posting I want to discuss how these criteria reach into the notion of “Setsuninto Katsujinken”.</div><div class="MsoNormal"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-YH0kvhhcbXg/UUsww9-3xXI/AAAAAAAAAQc/hMx_Zr_5VuE/s1600/fudo-myo-o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-YH0kvhhcbXg/UUsww9-3xXI/AAAAAAAAAQc/hMx_Zr_5VuE/s320/fudo-myo-o.jpg" width="256" /></a></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Thanks to <a data-hovercard="/ajax/hovercard/user.php?id=100000676494459" href="https://www.facebook.com/meishinkan.pskiij" id="js_2">Meishinkan Pskiij Pskiij</a> and Maria Enquist for the use of their photos. </div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com2tag:blogger.com,1999:blog-7380831531289624078.post-62061020587353502522013-02-14T16:05:00.000+00:002013-02-14T16:05:08.546+00:00Suio Ryu Koden Embu Taikai, Katsujinken Setsuninto and the Rest of the Universe – Part 1<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <w:DoNotOptimizeForBrowser/> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><br /><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if !mso]><img src="//img2.blogblog.com/img/video_object.png" style="background-color: #b2b2b2; " class="BLOGGER-object-element tr_noresize tr_placeholder" id="ieooui" data-original-id="ieooui" /><style>st1\:*{behavior:url(#ieooui) } </style><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; mso-pagination:widow-orphan; font-size:11.0pt; mso-bidi-font-size:10.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style><![endif]--> <br /><div class="MsoNormal"><i>So this was to be my final blog post for 2012, it got delayed quite a bit with all the stuff going on at the end of 2012 and beginning of 2013 and by February I decided that it would be best broken up into several sections so here goes part 1…</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">I expect this will probably be my final blog post for 2012 so it’s going to be a long one. I just got back from the 20<sup>th</sup>Anniversary of Tenshinkan Dojo, Warsaw which saw the first Suio Ryu Koden Embu Taikai in Europe. I was invited by Marcin Wojtacik along with:</div><div class="MsoNormal"><br /></div><br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Robert Rodriguez Sensei: (Suio Ryu)Iaido 7<sup>th</sup>dan, Jodo 6<sup>th</sup> dan<br /> <br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Patrik DeMuynck Sensei: (Tamiya Ryu) Iaido 7<sup>th</sup>dan, Jodo 6<sup>th</sup> dan<br /> <br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Takao Momiyama Sensei: (Muso Shinden Ryu) Iaido 7<sup>th</sup> dan, Jodo 7<sup>th</sup> dan<br /> <br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Neil Kemp Sensei: (Muso Jikiden Eishin Ryu) Roshukai Iaido <br /> <br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Philipe Merlier Sensei: (Muso Shinden Ryu) Iaido 6<sup>th</sup> dan<br /> <br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Henry Schubert Sensei: (Muso Jikiden Eishin Ryu) Iaido 5<sup>th</sup> dan, Jodo 5<sup>th</sup> dan<br /> <br /><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Jose Martinez Aberco Sensei: (Suio Ryu) Iaido 5<sup>th</sup>dan<br /><br /> <br /><div class="MsoNormal">This for me was a complete delight; I get on well with these EKF teachers and had never met Neil Kemp before although I had heard a lot of good things about him. For those that don’t know him, Neil heads the UK Roshukai group, a group of dojos who were under the tutelage of the late Iwata Norikazu Sensei learning the Tosa-ha branch of Muso Jikiden Eishin Ryu Iaido. Robert had through his presence brought a massive contingent of the Spanish Iaido group as well as many students from Versailles. They all seemed very excited and glad to be here.</div><div class="MsoNormal">On Day 1 the event was divided into those who wanted to do koryu (dividing into Muso Shinden Ryu, Muso Jikiden Eishin Ryu with Neil and Henry working together, Tamiya Ryu and Suio Ryu) and those wishing to do seitei (mainly people taking a dan grading that day). Given that there were some 33 people in this group and I had been asked to lead this group I asked Jose for some help to which he obliged. We ran through three katas at a time showing the important points and addressing questions. BY rotating ten people out at a time we managed to get through a lot of actual kata practice. We tried to emphasise the importance of correct footwork –this seemed to stick with some people and not with others. We did a bit of a grading rehearsal and then the grading was on us. </div><div style="border-bottom: solid windowtext 1.5pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;"> <div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;">The results were quite mixed but I could see that nearly all the panellists were fairly consistent in their marking. The shodans and nidans were not much of a problem with them all passing, the sandans passed three out of five but only four out of thirteen yondans passed (31%). It reminded me of the article by Peter West, The 4<sup>th</sup>Dan Barrier in Iaido which I will represent for you here, it is an excellent read:</div><div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><br /></div></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">In my opinion to pass 4th dan an applicant must show ALL of the following:</span></i></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><ul style="margin-top: 0cm;" type="disc"><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">There should be no technical errors in the Seitei performance. (By technical errors I mean those details describing the correct actions of the reiho and kata as laid down by the ZNKR. The document for this has been ably and expertly translated by Chris Mansfield and copies are readily available. This project has been of enormous benefit to our Iaido. All members should obtain a copy.)</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">There should be no errors in the reiho</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">The first cut of the first kata must be strong, well timed and decisive. (In 1995 Sagawa Sensei made the point that the first cut is the most important. If it fails, then anything that follows has no meaning. In competition he said that if two performances are so similar it is impossible to judge between them, then the effectiveness of the first cut should be the deciding point.)</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">Shisei should be strong, focussed and well balanced. (shisei does not only mean having good posture physically, but the correct state of mind)</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">Kigurai should be demonstrated from the first moment you are seen approaching the shinza jo to your manner after leaving.</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">The performance should demonstrate Jo-ha kyu in all actions, kan kyu in the kata, ma and maai should be correct as demonstrated by metsuke and how far you travel between cuts for the timing you choose.</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">The performance should demonstrate aji, fukaku</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">There should be no suki that could be entered by a person of at least similar grade.</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">This is the first grade at which the performance should consistently appear as though it would work in a real situation. (The applicant should not look as though they are trying to correctly remember a sequence of movements, but are performing naturally and realistically, performing effective cuts and strikes to deal with the situation of the Riai of the kata while remaining in control and not looking overly aggressive, rushed or as if taken by surprise.)</span></i></li></ul><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">This may all sound a tall order, but is it really too much to expect after a minimum of 7 years training? I really don’t think so. And, as I have said, this is only my opinion. Other examiners may have different criteria. That said, I feel confident that all of us who have sat on grading panels in the UK have similar requirements. I know people have passed that I have thought should not, and vice versa. For this reason, to eliminate the inevitable variations of specific expectations of the different examiners, grading panels increase in size for higher grades.</span></i></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">You might reasonably ask then, what you should do if you are one of the unfortunate people who have failed 4th dan on more than one occasion. </span></i></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><ul style="margin-top: 0cm;" type="disc"><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">Of course, more training is necessary, but if what you are training is incorrect it will do you no good. You need to find out what is wrong with the way you train.</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">After teaching at Watchet last year it became all too apparent that many people who do not train kendo, but only iaido or Iaido and Jodo do not do enough suburi. Suburi not only improves cutting efficiency (reducing the need for force and making the movement faster, sharper and less stiff), but improves shisei, breathing, seme, kigurai and many other aspects of the performance.</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">Seek help from other teachers. This is not an insult to your own teacher, whose permission or recommendation should be sought. I don’t mean you should abandon your own teacher. Seeking help elsewhere is useful for you both. This can be done at BKA seminars for example, or squad training. Another teacher might explain the same thing differently or change the emphasis so that you better understand what you have already been shown. This is particularly the case if you have access to a Renshi or Kyoshi instructor from time to time. Looking beyond the confines of your own dojo and deepening your understanding in this way is the “Ha” stage of “Shu-ha-ri”. Anyone seriously challenging 4th dan should be seeking knowledge and understanding from all sources and beginning to assimilate different methods.</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">Have faith in what you have been taught and in your training. Practice with no thought as to the correctness of your movements, but try to imagine the enemy and deal with the situation using the method in the kata. Use a video camera and review your practice as soon as possible after the session so you can recall what happened, how you felt and connect what you see with the performance itself. Of course you should not be making technical errors. By this I mean that your training should now allow and enable you to perform a kata correctly in this sense without thinking through the various stages and moves. This will allow your movements to flow naturally your own personal interpretation of ma and mai will develop and subsequently so will fukaku.</span></i></li><li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">Do grading embu practice as often as possible.</span></i></li></ul><div align="center" class="MsoNormal" style="text-align: center;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">At all times maintain a positive attitude. We all have barriers to our progress, and they are often related to a wrong perception, or wrong thinking rather than bad teaching or reaching a competence limit of some kind. When this barrier has to be crossed, and it is different for all people, it can seem insurmountable and frustrating, but generally most people hit one in those 3 years after third dan. Look deeper, train harder and seek further afield for the answers. They are there to be found.</span></i></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">Good luck</span></i></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div style="border-bottom: solid windowtext 1.5pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;"> <div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">Peter West Myoken Dojo</span></i></div></div><div class="MsoNormal"><br /></div><div class="MsoNormal">I guess what this means for me is that most cannot pass their 3<sup>rd</sup> dan and then carry on coasting at the same speed into their 4<sup>th</sup> dan. <span style="mso-spacerun: yes;">&nbsp;</span>At some point one has to engage significantly more with their training and their budo; simple repetition of forms will probably not suffice. This has prompted me to write a more in-depth document for taking iaido gradings in my capacity of Iaido Bucho for the British Kendo Association, not because I claim to know all the in’s and out’s completely but I do know that there is a lot of information out there which relates to this topic which doesn’t always get distributed evenly to all members.</div><div class="MsoNormal">So what else does this mean? </div><div class="MsoNormal">In my humble opinion, and this mirrors heavily on that which Peter wrote, before one even tries for 4<sup>th</sup> dan one should be starting the gentle separation from the reliance on one’s teacher to be the single source of knowledge, feedback, criticism. Quite recently at 4<sup>th</sup>dan gradings it has become apparent that many of the candidates had insufficient idea or perception of what they were doing in comparison to the standard seitei description. There was lots of evidence of hard practice but not so much in adherence to technical detail. I wonder if any of them had seen themselves on video doing iaido. I don’t mean spending hours delighting oneself with relentless showings of one’s last taikai embu; I mean that, for example, every time someone videos me doing a taikai, grading, embu or just training, I try to watch it very carefully trying to identify: bad habits that have crept in or crept back, good aspects that I want to amplify more and simple compliance or non-compliance with technical standards. Those who have read older posts in this blog may know already that I wasn’t against doing weekly videos of my grading practice and getting home to go through it frame-by-frame and critically appraising the technical correctness and performance of each form. I’m not suggesting that this is anything special, I just think that a serious approach to training, where training opportunities might be limited to a few hours a week, requires a very broad range of training aids to progress oneself. </div><div class="MsoNormal">I would like to unpack that further: simply turning up to the dojo once or twice per week for a couple of hours isn’t going to overcome the natural plateau’s that occur in one’s development. One has to do some kind of “extracurricular activity” and the higher the immediate grade one is aiming for the more is required. Most of us outside of Japan unfortunately don’t have the luxury of having a dojo and a sensei available for nearly every day of the week. I am sometimes ashamed and frustrated that I don’t train more considering how much time my line of teachers have devoted to their training. Some of this is me being lazy, other times I’m enthusiastic to train but I just don’t have the opportunity to have some space and time to do it properly.</div><div class="MsoNormal"><br /></div><div style="border-bottom: solid windowtext 1.5pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;"> <div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;">End of Part One</div></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-23668733889394666982013-01-15T19:23:00.002+00:002013-01-15T19:24:01.128+00:00Supplementary Post - Dojo Layout and Stepping From ZNKR Seitei ManualI have quite a sizable article being written right now although it does go on a bit and is being in parallel with a document concerning iaido gradings so it's taking quite a looooooonnnngggg time.<br /><br />In the meantime I decided to translate page 35 of the ZNKR Seitei Iaido Manual which covers "How to enter and leave the dojo: Direction of stepping and rotation". This wasn't translated in the current English version and I have to be honest, I am not sure of the purpose of this except when we all go and do our 8th dan embu in Hakone. If you watch videos of these embu then you might notice a slightly more elaborate style of entry to the dojo and carrying out reiho. I believe this is in harmony with this diagram shown below.<br /><br />The link for the PDF of this drawing (which is better quality than the JPEG shown below) should be downloadable here:<br /><br /><a href="https://www.dropbox.com/s/5syj10lqe5m6zv9/Dojo%20layout%20and%20stepping%20orientation.pdf" target="_blank">https://www.dropbox.com/s/5syj10lqe5m6zv9/Dojo%20layout%20and%20stepping%20orientation.pdf</a><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-WxR1QgURKLI/UPWsL6r18JI/AAAAAAAAAQI/JUOL8wu10V0/s1600/Dojo+layout+and+stepping+orientation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-WxR1QgURKLI/UPWsL6r18JI/AAAAAAAAAQI/JUOL8wu10V0/s320/Dojo+layout+and+stepping+orientation.jpg" width="240" /></a></div>Any questions, please drop me a message.Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-3128594246626770052012-11-21T14:52:00.000+00:002012-11-21T15:03:56.816+00:00A Thanks to Murakami Sensei (and how to make Ochiburi easy)<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><br /><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <w:DoNotOptimizeForBrowser/> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; mso-pagination:widow-orphan; font-size:11.0pt; mso-bidi-font-size:10.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <br /><div class="MsoNormal"><br /></div><div class="MsoNormal">Well that was quite a lull wasn’t it? I guess I haven’t been actually that busy with training for a while and the time I have spent in the dojo has been mostly about helping others. Our dojo suddenly seems full of newish people, space is in demand and I generally default into the helping position when it gets congested.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">I would like to share one point though that was conveyed to me by Murakami Sensei during his visit to Wroclaw recently. As I may have mentioned, this was the first time for me to meet him and his dojo members and it was a very enjoyable few days. What comes across very clear from Murakami Sensei is that very little of what he does he does simply because someone has told him so. It is very obvious that he is no stranger to hard and vigorous training and everything he demonstrates he does so with an air of something very well grounded in. He does iaido and jodo as it works for him, a lot of which I’m sure is because he has applied himself so hard to learning but the outward appearance isn’t that he has great difficulty doing anything that he demonstrates.</div><div class="MsoNormal"><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-vs9_VUbG-As/UKztQF5kaLI/AAAAAAAAAP0/ZKLLNUrh9x8/s1600/Murakami+seminar+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="http://3.bp.blogspot.com/-vs9_VUbG-As/UKztQF5kaLI/AAAAAAAAAP0/ZKLLNUrh9x8/s320/Murakami+seminar+1.jpg" width="320" /></a></div><br /><br /></div><div class="MsoNormal">One thing which stuck with me was his very interesting explanation of ochiburi and how it makes it much easier to do. I would like to start this explanation with a premise concerning a particular point within the ochiburi action and if you don’t already do it this way then this post might not be very helpful. That premise is that between the point from the arm being stretched out to the right to the point where it brings the sword close to the head that the grip should relax so that the potential to do tenouchi is created. I realise that the absence of this premise is that the right hand holds the sword very stiffly maintaining an elevated kensen throughout this action. I don’t personally believe that that way of doing it is natural or necessary if the physical action of chiburi is to shake the blood from the sword (regardless of whether that literal interpretation is practical or not).</div><div class="MsoNormal"><br /></div><div class="MsoNormal">What has always been a difficulty for me though is maintaining some semblance of kissaki control during this action, typically with the kissaki waving to the left and right so that it goes behind my head and then back to the outside as the grip starts to engage. Through the transition from the position of the right arm being outstretched to holding the sword near the temple the following conditions must be maintained (or so I have been taught):</div><div class="MsoNormal"><br /></div><div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The kensen must not drop below horizontal</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The kensen should not waiver to the left and right but should remain at roughly the same relative position to the hand</div><div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The grip should relax so that tenouchi can be used to actually make the chiburi cutting action</div><div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><br /></div><div class="MsoNormal">Murakami explained that the seiteigata method of doing this was to ensure the the kensen projects out to the side when the right arm is outstretched, essentially meaning that the right hand grip doesn’t change from the end of the kirioroshi.<span style="mso-spacerun: yes;">&nbsp; </span>He further outlined that it was koryu methodology that required the kensen going straight back but seitei should have the sword kept out to the side (see images below).</div><div class="MsoNormal"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-QLeTk9bINao/UKzprUAjC5I/AAAAAAAAAPc/jOuAa-q1X4Q/s1600/Ochiburi+pt1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="http://2.bp.blogspot.com/-QLeTk9bINao/UKzprUAjC5I/AAAAAAAAAPc/jOuAa-q1X4Q/s320/Ochiburi+pt1.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-E33E7foeuIk/UKzpwIy50SI/AAAAAAAAAPk/Gg1dW4ESH6I/s1600/Ochiburi+pt2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="http://1.bp.blogspot.com/-E33E7foeuIk/UKzpwIy50SI/AAAAAAAAAPk/Gg1dW4ESH6I/s320/Ochiburi+pt2.jpg" width="320" /></a></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal">The images above don’t of course show the final position by the side of the head with the tsukagashira towards the front of the right eye but I’m sure you get the meaning.&nbsp;</div><div class="MsoNormal"><br /></div><div class="MsoNormal">Anyway, by actively making the kensen adjust from an oblique position to a straighter position during the movement from outstretched to the temple this tends to keep the kensen in a much tighter control that is, it is easier to control the position by actively moving it rather than trying to keep it relatively still. Simple though this revelation was it fairly well fixed a problem that didn’t seem to be going away. Such is life with long arms and a long sword.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">I think now even in shoden I will try to provide a small part of this movement even though I try to keep the movement more fluid.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">I don’t believe it is explicitly written in the ZNKR seitei manual that ochiburi must be performed like this, it sounds like something transmitted orally and learned through good training which is the thing that is so obvious with Murakami Sensei, he appears like a keiko workhorse.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">Shortly after this seminar Murakami Sensei with his brother won the All Japan Jodo Championships for 7<sup>th</sup> dan, an acclaim which I think must be well deserved. There were some aspects of his technical methodology in both iaido and jodo which I had not come across before and even where it was slightly counter to my study lineage it was all worth trying, incorporating and finding useful aspects for one’s own technique. His compact but devastating hikiotoshi demonstrated to me how important it was to keep one’s body angle at 90 degrees for as long as possible so that the hip twist is still taking place during the contact period between jo and tachi.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">Anyway, a new blog entry is waiting for my fingertips….</div><div class="MsoNormal"><br /></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com14tag:blogger.com,1999:blog-7380831531289624078.post-13916990578363364382012-09-18T10:29:00.000+01:002012-09-18T10:29:21.318+01:00Passing Jodo 6th Dan<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <br /><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"></b></div><div class="MsoNormal">Well, I guess the title gives away the content of this posting then. Let’s leap straight to the finale, I passed my 6<sup>th</sup> dan Jodo examination a couple of Sundays back at the European Jodo Championships in Brussels along with my partner Harry and one other candidate, Chantal from France. The seminar was led by three Japanese sensei:</div><div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Tominaga Sensei, Hanshi 8<sup>th</sup> dan</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Kurogo Sensei, Hanshi 8<sup>th</sup> dan</div><div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo1; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Arai Sensei, Kyoshi 8<sup>th</sup> dan</div><div class="MsoNormal">It was a fairly interesting seminar for me as I had already been to three previous main seminars with 8<sup>th</sup> dans at them and so to see how each explained the latest emphases was going to be insightful. </div><div class="MsoNormal">As I haven’t really detailed my Jodo training what with my Iaido 6<sup>th</sup> dan taking centre stage for so long I ought to outline what I have done during 2012 to push my Jodo further:</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Villingen Seminar</b></div><div class="MsoNormal">We had two and a half days with Ishido Sensei, assisted by Hayashi Sensei, in Villingen this year. I now find these smaller seminars far more beneficial than the larger summer events as there are fewer people that attend (just) and they generally have a higher distribution of grades in attendance. To request, Ishido Sensei spent the first half day holding a senior session with the 5<sup>th</sup> dans and above to cement the important points for seitei. I will summarise what the majority of these are later.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Japan</b></div><div class="MsoNormal">Harry and I had one week in Kawasaki regularly training with Ishido Sensei. This only allowed us one evening’s training with the Shinbukan students and very little feedback. I did however try to identify what the students their exhibited as part of their Jodo and I guess I would have to say that it was to do with effortlessness. Soft and efficient technique seems to be mainstay of the training and one didn’t feel like they were being intimidated when they trained. Everyone focussed on improving themselves and not at the expense of their partner. We also had the fortune of attending the 30<sup>th</sup>Kanagawa Ken Taikai and the 1<sup>st</sup> Commemorative Yano Sensei taikai which was extremely enjoyable and has been detailed in another post.&nbsp;</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Eindhoven Seminar </b></div><div class="MsoNormal">Ishido Sensei once again insisted on a total of a five-day seminar rather than the six and this worked out quite nicely. I had a good opportunity to train with Janet Griffiths as well who was about to go to Japan to try her 6<sup>th</sup> dan (which she passed – well done Jan!). Shoji Sensei, Miyagi-ken’s new 8<sup>th</sup> dan took a large part of the seminar and went over the salient points of what was considered important to the ZNKR Jodobu. As well as doing lots of training with Harry I had some opportunity to also do some nice training with Margherita from Italy, Catja from Switzerland (sorry for the bad spelling all) and many others. This enforced training with people one hasn’t trained with before is extremely useful and insightful.&nbsp;</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;">British Kendo Association Summer Seminar</b></div><div class="MsoNormal">Otake Sensei, kyoshi 8<sup>th</sup> dan from Kanagawa led the seminar this year. I have to say right now that he is one of my favourite Jodo teachers. He is the perennial student and an absolute technician. His enthusiasm and studiousness is infectious and you get to feel like he shares everything he knows. One never feels ashamed to ask him any question regardless how stupid and he is generally always able to answer. On the last day he gave the “soon to be grading” group a run for their money and put them through the mincer – very useful it was too.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">And so back to Brussels. I tried my best to participate although I was nursing a very sore back and neck that had locked up in the last couple of days (from lying on my sofa of all things). We did a bit of tandoku dosa on the first afternoon followed by a quick run through the salient points of Seiteigata. The referees seminar consisted merely of practice and going through the 3-man team procedure.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">The next day was the taikai starting with the team event. It is wonderful to see how the various participating countries have moved up to similar levels as everyone else nowadays. There are no foregone conclusions and the veteran countries of the earlier years are constantly stressed into doing their utmost best to beat relatively newer countries which have no leaders above 4<sup>th</sup> or 5<sup>th</sup> dan.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">I was delighted to see the UK team come second to the host country, Belgium, and I am sure it was a close thing. The team was led by Aurelien Nacrour (Taisho), with Daniel Silk as Chuken and Jo Hirst as Senpo.</div><div class="MsoNormal">The individuals took up the afternoon and after a long wait the 5<sup>th</sup> dan division started. Both Harry and I won our individual pools which meant we wouldn’t meet before the final…and then surprise,<span style="mso-spacerun: yes;">&nbsp; </span>we both made it through to the final. As the finals were run at the end of the day, Harry chose Catja as her uchidachi and I chose Aurelien. The fight took place and I was unfortunately aware that I was using a little bit too much strength in the final strikes as I am apt to do in finals. The flags went up and Harry won 2-1. I looked at Aurelien and we both grinned like cats. This was the first time Harry had won a European Jodo Taikai (she had previously only won a bronze and that was in a taikai with only about 3 people). I was so delighted with her. I had lost and yet somehow I had also won. I can say with all honesty that this was the best result to me. I had won lots of taikai before and the feeling of elation was fleeting, lasting only about 5 seconds as one is walking off. For Harry though I am sure this was a big thing and so it was a big thing for me too…just before our 6<sup>th</sup>dan exam too!</div><div class="MsoNormal"><br /></div><div class="MsoNormal">We had a bit of time in the afternoon to practice before the grading as we were doing the okuridashi system. This meant:</div><div class="MsoListParagraphCxSpFirst" style="mso-list: l4 level1 lfo2; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Harry tachi’d me.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>I tachi’d Chantal.</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Chantal tachi’d Len.</div><div class="MsoListParagraphCxSpLast" style="mso-list: l4 level1 lfo2; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>Len tachi’d Harry.</div><div class="MsoNormal">Poor Harry, she had to stay on the longest before it was her time to do the jo. After the 6<sup>th</sup> dan candidates I tachi’d for Chris Buxton who was the sole 7<sup>th</sup> dan candidate. Funnily enough I was feeling much better about that embu than my own.</div><div class="MsoNormal"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowFullScreen='true' webkitallowfullscreen='true' mozallowfullscreen='true' width='320' height='266' src='https://www.youtube.com/embed/xlfDEEI2vi8?feature=player_embedded' FRAMEBORDER='0' /></div><div class="MsoNormal"><br /></div><div class="MsoNormal">My thanks to George Valkov for recording our taikai as well as our gradings. </div><div class="MsoNormal"><br /></div><div class="MsoNormal">The results went up. Harry, Chantal and I had passed and so had Chris Buxton! The dojo went a bit mad. It was fantastic. Chris has been trying on and off for 7<sup>th</sup> Jodo since around 2003 (I think Papendal was his first try). Although I train a lot with Chris and helped him prepare for 7<sup>th</sup> dan I think this is the first or second time only that I had tachi’d him for his grading so it was a great honour for me to see him pass; I don’t mean that with conceit, I am sincerely pleased that he passed and know that he did it on his own steam.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">Fay Goodman also passed 5<sup>th</sup> dan which was great to see as she has also been going to European seminars this past couple of years to get extra training at Ishido Sensei’s seminars.&nbsp;</div><div class="MsoNormal"><br /></div><div class="MsoNormal">And so, menjo’s were awarded, tears were shed (i.e. the menjo registration fee was over 100 Euros!) and thanks were given.&nbsp;</div><div class="MsoNormal"><br /></div><div class="MsoNormal">Where to go with this? I haven’t yet decided what I want the 6<sup>th</sup> dan to mean for me and how I want to recreate myself with this. I have done it with my Iaido 6<sup>th</sup> dan but I’m not sure about my Jodo. I certainly want to be more consistent in my Jodo and I want the catches in Kuritsuke, Kurihanashi and Taiatari to be more reliable. I realise that Rai Uchi has its own very unique challenge regarding sharp timing but other than that I don’t feel an Achilles Heel in my seitei<span style="mso-spacerun: yes;">&nbsp; </span>jodo – that’s not to say of course that they couldn’t all be improved, I’m just reflecting that most people have a least favourite seitei iaido form, I don’t have the same thing for Jodo.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Key Findings</b></div><div class="MsoNormal">I don’t want to pretend to have reached some form of enlightenment from this experience, just as I have with the rest of the Shugyo blog, I merely want to reflect and share some of the things I have learned along the way. I guess for Jodo, the majority of the key points are very general and don’t refer to any particular grade; the quality and quantity with which one applies these points though of course becomes more critical as one progresses up the grades.</div><div class="MsoNormal">In no particular order:</div><div class="MsoNormal"><br /></div><ul><li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"></span></span></b><b style="mso-bidi-font-weight: normal;">Ma-ai (distance)</b></li></ul><div class="MsoNormal" style="margin-left: 18.0pt;">Ishido Sensei stressed this as being a factor not considered strongly enough amongst the European students on more than one occasion this year.<span style="mso-spacerun: yes;">&nbsp; </span>In particular, Seiteigata has very strict definitions of what the distance is between Shi and Uchi through every point of the kata. How this is created is important as well as how it is then further utilised, for example:</div><div class="MsoListParagraphCxSpFirst" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>With two-step cutting distances it is important that the Uchidachi doesn’t lift the sword on the first step but waits until the second step is well underway before lifting and cutting.</div><div class="MsoListParagraphCxSpLast" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l0 level1 lfo4; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>With one-step cutting distances, the lifting of the sword and cutting commences almost simultaneously and should be executed without delay (or without <i style="mso-bidi-font-style: normal;">sukima – </i>opening).</div><div class="MsoNormal" style="margin-left: 36.0pt;">At these one-step cutting distances it is important to check that neither side should be able to hit each other without moving. However, if they are too far away then they are not in <i style="mso-bidi-font-style: normal;">issoku-ittou-no-maai </i><span style="mso-spacerun: yes;">&nbsp;</span>(one-step cutting distance) therefore the approach should bring the Uchidachi right up to the very danger limit. Both sides should sense a danger within this proximity akin to standing on the very edge of a cliff. Without this critical sense of danger there is no longer any point in the Uchidachi stopping as they do in Seitei – this is the very meaning of the pause – to exude, exhibit and sense this danger zone.</div><div class="MsoNormal" style="margin-left: 36.0pt;">There are two other factors of distance which are important in Seiteigata, those being <i style="mso-bidi-font-style: normal;">Chijimeru </i>and <i style="mso-bidi-font-style: normal;">Nobasu </i>which respectively mean “to shorten” and “to lengthen”. More than is realised, these two actions happen in nearly every kata but they are more easily identified in Katas 3 and 12, Hissage and Ran Ai. </div><div class="MsoNormal" style="margin-left: 36.0pt;">In Hissage, from the initial <i style="mso-bidi-font-style: normal;">awase</i> distance, the action of the Shijo as the Uchidachi moves into Jodan Kamae is to lengthen (<i style="mso-bidi-font-style: normal;">nobasu</i>) the distance between them thus creating a brief pause during which the Uchidachi has to recalculate and re-establish their distance.<span style="mso-spacerun: yes;">&nbsp; </span>While the word “Hissage” means to carry in one’s hands, I believe that the name is a play on words as the individual characters that make up the name mean to “draw back” which is the ultimate action of the Shijo at the aforementioned point.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">In Ran Ai, after the initial encounter from which the Uchidachi draws the sword up and back and the Shijo steps back to hikiotoshi, the next action of the Shijo is to suddenly and drastically shorten (<i style="mso-bidi-font-style: normal;">chijimeru</i>) the distance thus forcing the Uchidachi to arrest their forward movement and make a shorter cut. Again this sudden change of distance along with the action of <i style="mso-bidi-font-style: normal;">seme</i> causes the Uchidachi to pause briefly in jodan kamae allowing the Shijo to execute their next technique (the outside kuritsuke).</div>The importance and the effect of these two actions are often overlooked as the exponent focusses on what to do with the stick rather than considering what to do with their feet.<b></b> <ul><li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span></b><b style="mso-bidi-font-weight: normal;">Ma (timing)</b></li></ul><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">It would be inappropriate for me to say at my level that I have a consistent understanding of what overall the timing of the katas should be. I am certain that the individual levels of the exponents, the kind of training they are doing and their individual physical criteria and feeling all play a part in dictating the katas timing. Certainly at 6<sup>th</sup> dan level it was clearly expressed to us that clear and steady timing of the katas was important rather than focussing on speed.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">The aspect of timing which I have learned is a) of utmost importance and b) often overlooked is: <b style="mso-bidi-font-weight: normal;">timing with regard to one’s opponent</b>. We have often been told of late that as individuals we are doing the techniques very well but we are not doing them in accordance to what the opponent is doing. Kuritsuke is a good example: moving too late is generally unheard of but moving too early provides the Uchidachi an opportunity to change directions and cut to where the Shijo is moving to.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">The Japanese term is “<i style="mso-bidi-font-style: normal;">aite o ishiki suru”</i> that is “to be aware of one’s opponent”. This doesn’t of course merely realise that they are there and thundering towards you but that you are actively and carefully monitoring their position and movement. Ultimately in Jodo, the timing of the Shijo’s movements are, and I don’t like to use this word, dictated by the timing of the Uchidachi. The reason why I don’t like to use this word is that it can be wrongfully equated to mean that the Uchidachi controls the Shijo’s timing – I don’t mean this. The subtle nuance I mean to communicate is that the Shijo’s timing is dependent on various aspects of the Uchidachi’s timing….I think I might have laboured this point a lot now.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">On the side of the Uchidachi there are equally important factors to consider. In a two-step cut, revealing ones intention by lifting the sword too early leaves an easy opening for the Shijo to evade or counterattack. The timing should be set to the very limit of unexpectedness just like the distance mentioned before. The term “<i style="mso-bidi-font-style: normal;">giri giri made</i>” is often used to describe both timing and distance and means “to the very edge” or “to the very last moment”.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">Furthermore, it should be considered that in long katas the general rhythm of the form is dictated by the Uchidachi and it is important that one’s form does not become too “busy”. This is best understood through an example in either Kasumi, Midare Dome or Ran Ai when the Uchidachi has to step back into hasso kamae to make a new attack. Without the tiniest brief pause or change of pace it looks like the Uchidachi has pre-empted the next attack and hasn’t taken the time to check distance and the availability of the target. While physically stopping (“<i style="mso-bidi-font-style: normal;">tome”</i>) is not advanced Jodo, a moment of re-establishing one’s position and accumulating intent (<i style="mso-bidi-font-style: normal;">“tame”</i>) provides a good tempo to the form. My own teacher does this very well, on receiving, for example, a Tai Atari he moves back regaining his balance and for just a split second he is at a two-step cutting distance to the Shijo during which a split-second decision is made and he returns for the next cut. It is very perturbing for the Shijo.</div><ul><li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span></b><b style="mso-bidi-font-weight: normal;">Ashi Sabaki (footwork)</b></li></ul><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">It’s very strange and I’m sure most people don’t notice it but if one were to measure the amount of time that the average 8<sup>th</sup>dan spends explaining and demonstrating footwork compared to how much time they spend on the action of the stick itself I am sure the proportions would be around 5:1 in favour of footwork. Yet, we spend so much time worrying about and correcting the jo and taikai shinpan strain their eyes to look to make sure the jo has landed in the right place……</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">The Seitei manual makes it very clear about the correct positioning of the feet and how they relate to the angle of the hips and thereby the shoulders and upper body. There are only a few foot positions but they have to be clearly distinguished and correctly executed. Blurring one to another is out as is moving outside of the carefully described limits on angles and weight distribution. </div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">Of much interest of late was a teaching from Otake Sensei who emphasised that in Yaya Hanmi (for honte no kamae for example) that the weight in the rear foot should be distributed to the ball of the foot so that the rear heel can ever so slightly be lifted from the floor (and by that I mean by about 1mm). Furthermore, when moving forwards from a static position, the distribution of weight should be so that 55-60% of the weight is on the front foot. Just like Seitei iai as well, rotation of the feet is best done on the balls of the feet and not the heels. The effect of this is that as the hips turn the weight doesn’t sink down as it can tend to do when rotating on the heels.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;"><br /></div><ul><li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span></b><b style="mso-bidi-font-weight: normal;">Dai-Kyo-Soku-Kei<span style="mso-spacerun: yes;">&nbsp; </span>(large, strong, fast, smooth)</b></li></ul><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">This covers a multitude of technical points really but I guess with regard to the Jo it has the following relevance:</div><div class="MsoListParagraphCxSpFirst" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto; mso-list: l2 level1 lfo5; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>When striking actions are made they should be delivered with a feeling of largeness. This has the effect of relaxing key muscles and allowing the functional ones to work unhindered. The effect on the jo is that strikes are made with a smooth arc and accelerate through their movement while maintaining a good level of accuracy.</div><div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto; mso-list: l2 level1 lfo5; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>When thrusting actions are made they should be delivered with a smooth acceleration thus ensuring that the leg and body movement plays an integral part of the thrust instead of merely providing a firm base from which only the arms are used.</div><div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto; mso-list: l2 level1 lfo5; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>When catches are made (kuritsuke, kurihanashi, taiatari) the body should be relaxed in the preparatory movement so that the jo remains fixed to the body and should only be lifted as the body gets into its evaded position.</div><div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto; mso-list: l2 level1 lfo5; text-indent: -18.0pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span>The power of strikes and thrusts should be primarily generated from the lower body; the upper body is merely an instrument through which this power is transmitted.</div><div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 10.0pt; margin-left: 90.0pt; margin-right: 0cm; margin-top: 12.0pt; mso-add-space: auto;"><br /></div><ul><li><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span></b><b style="mso-bidi-font-weight: normal;">Shisei (posture)</b></li></ul><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">I realise that in the west, posture is often translated into “kamae” but I want to draw a difference between understanding the technical points of each stances of readiness and what I think is a slightly different aspect which is the beauty of correct and refined posture.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">Firstly, being able to clearly define one kamae from another is a key point of Jodo, it is very easy to blend them especially as there exist small margins of allowable difference in each kamae. What one should aim for though is the action of making a visible change from one kamae to another rather than it being too fuzzy. Once one is able to make the changes clear then the next stage of course is to make these transactions smooth and in the right time with regards to the opponent.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">Returning back to the “beauty” of shisei, the posture should reflect what one should be feeling inside i.e. alertness, flexibility, mobility and with a certain tension.<span style="mso-spacerun: yes;">&nbsp; </span>In general, the lower body contains all the strength that the body needs and should support the upper body which should thereby be relaxed and able to produce large expressive movements. </div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">I could of course spend an entire post devoted to what is said about shisei but I think I should leave this for now.</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;">So, now having written all this out, I am waiting in an airport lounge at 5:30am after another seminar in Poland, this time led by Murakami Sensei and I have a whole raft of other points to work on and describe in time. Anyway, enough for now….</div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;"><br /></div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;"><br /></div><div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt;"><br /></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-25206819152093472152012-07-08T19:49:00.000+01:002012-07-08T19:49:49.786+01:00End of the Preparation, Training In Japan (or The Meaning of Sharpness)<!--[if !mso]><style>v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style><![endif]--><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif";} </style><![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults v:ext="edit" spidmax="1027"/></xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout v:ext="edit"> <o:idmap v:ext="edit" data="1"/> </o:shapelayout></xml><![endif]--> <br /><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">While I start writing this while zipping along on the bullet train to Kyoto it is quite likely that it won’t be finished until we are back in the UK so please excuse me if the post wavers around a bit.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Well, for those of you that have followed this from the beginning you will know that the main purpose of the Shugyo blog was to track my progress in training in preparation for my 6<sup>th</sup> dan iaido grading. I am glad to say that that particular preparation has reached a successful conclusion. This of course isn’t to say that my training stops here of course but that distant objective and the slow, meandering walk towards it has. I hope that my pre-6<sup>th</sup>dan training blog has been useful in some small way regardless as to what grade or stage you are training at. Doing this has certainly helped me to keep in the front of my mind what I have done and what I had needed to do. Now where to go from here….</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Firstly, there is some unfinished business with my 6<sup>th</sup> dan which I promised myself I would keep in that drawn out period between coming off the shinsajo and waiting for the results. I detailed this in my last post but to reaffirm it, I am determined in the next few months to train my embu to a point where I am confident that the techniques are more or less correct without actively and consciously monitoring them. The reason for this is that during the shinsa I found that I couldn’t think about them at all. That might be something rare to me but I have discussed it with a few other people and they shared the same experience – when in the “zone”. That isn’t something though that I want to spend hours on writing blogs about, it’s a relatively dry and slow progression.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Secondly, I want to spend a bit of time on those in our dojo who are preparing for gradings coming up this year. We have quite a few and they are mostly high(ish) grades. As Ishido Sensei said in Villingen this year, the grade you are is the grade to which you make other people. I will try to make sure that happens at least until people get a little bit bored of me hanging around them.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Thirdly, there is the minor issue of ANOTHER 6<sup>th</sup> dan grading coming up, that is Harry’s and mine in about 6 weeks! No blog has been written about this – what hope do we have? Well, I knew from the outset that a Jodo Shugyo blog would be a lot harder than an Iai one, the latter being so much more introspective and reliant on the self. It almost seems like it would require both people in a Jodo training scenario to write a truly accurate reflection of a training experience. That’s not to say that I’m not going to write about Jodo only that it might not be of the same flavour as the 6<sup>th</sup> dan iai prep one. Maybe it should only be about tandoku dosa….</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Fourthly, I have my 7<sup>th</sup> dan grading in 6 years. By that time what do I hope to achieve:</span></div><ul><li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Consistent technical correctness.</span></li><li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">An easily recognisable expression of kankyu-kyojaku and jo-ha-kyu.</span></li><li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Iaido with personality (fukaku) and dignity (hin’i)</span></li><li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;</span></span></span><span>A high, demonstrable level of ability and knowledge of the koryu. </span></li></ul><span>Anyway, I guess what I’m trying to say is that I still have much to write about and hopefully many, many more experiences to relate, for example….</span> <div class="MsoNormal"><br /></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Training in Japan</span></b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;"></span></div><div class="MsoNormal"><a href="" name="_GoBack"></a><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Well as anticipated I am beginning to write this while on the plane flying back from Japan. Harry and I spent two weeks in the land of the falling rain which was part training part holiday. We stayed in Kawasaki from a Tuesday to the following Monday and so were able to get in some good training hours with Ishido Sensei. Training at Shinbukan comes with so many additional benefits that a trip to Japan to go there is certainly worth the time, money, annual leave and risk of deep vein thrombosis. Obviously the first major benefit is being under the tutelage of Ishido Sensei himself who as well as being one of the finest exponents of iaido I have ever met (if not THE finest but that of course is a matter of opinion) he is also an excellent teacher and coach. By “teacher” I refer to the ability to put one's own expertise into a 'learnable' context. I hope my own definition is clear here, it relies on someone having a high level of knowledge and personal experience which is background from which one teaches. Ishido Sensei of course has this knowledge and experience having learned iaido from his father as a child and having to date achieved hanshi 8<sup>th</sup> dan and is (I believe) menkyo kaiden in both Muso Shinden Ryu as well as Muso Jushin Ryu. In his experience he has also learned Muso Jikiden Eishin Ryu and another style of standing swordsmanship whose name escapes me while at this altitude (or having drunk so much sake). He is also kyoshi 7<sup>th</sup> dan in Kendo and kyoshi 8<sup>th</sup> dan in Jodo – overall an amazing roundness in martial arts.&nbsp;</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">I don't want to miss out on the chance to waffle on about what I perceive to be the difference between a teacher and coach so here goes and feel free to fast forward if you have already been on a BKA coaching course or if you are one of the 99.999% of people who find this boring. A coach, I feel, is someone who is able to develop another individual or individuals without resorting to the need, or having the existence of, a deep level of knowledge and experience. A coach resorts to a fairly common and consistent set of communication skills to lead others into their own road of learning. The coach themselves frequently only need to have a slightly higher level of knowledge than the student themselves. They need not even have the ability to do what the student is currently achieving. I often like to refer to a part in the great film “Chariots of Fire” in which the character played by Ian Holme, obviously not the most athletic looking person in the world even with the best CGI currently available (which the film makers didn't have), approaches one of the British Team athletes with an offer to shave off some vital fractions of a second of his 100m sprint. This character would not have been able to make even a slightly impressive attempt at a sprint but through his observation, knowledge and basic coaching was able to get this athlete to win his race. This is what I consider to be coaching and it is fairly obvious how it differs from my definition of teaching. One of the discrete skills in the coaching toolbox is the ability to put oneself in the shoes of the student and see progression from their perspective and not to try and lead from a standpoint miles above from which the student currently exists. Empathy, communication, honesty, patience and an ability to import skills from other fields are vital to being an effective coach.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">On top of being an excellent teacher, I find Ishido Sensei quite naturally able to be a really fine coach as well, this is something quite rare in martial arts to be honest. He is often able to look at an individual and discern the best method of performing a technique using that individuals own bodily dimensions and general ability to move. This sometimes mean that the student does something slightly different<span style="mso-spacerun: yes;">&nbsp; </span>from the rest of their peers but the end result is that the student can perform a certain technique around the same level of competence as their colleagues even if they are built less advantageously.&nbsp;</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Anyway, getting back to the main thread, Shinbukan Dojo's other advantages as a training venue include the fact that there are a few exceptionally good students there who are worth observing and trying to emulate and assimilate their techniques. The dojo sessions are run quite informally and Ishido Sensei doesn't spend much time addressing the whole group but instead prefers to give individual feedback. The dojo being quite small means that there are often around 3-4 students who have to sit out and wait for a space to avail and so everyone politely rotates after about 15 minutes of training. This gives those having a rest a time to regenerate some energy and see what others are doing as well as having a chat with Sensei over a cup of tea. I should add that there is a very low level of noise, both literal and mental. Everyone quietly gets on with their own practice, chatter is kept to a comfortable minimum and little time is wasted.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">To this environment we joined our first training session on Tuesday evening for regular iaido practice. It was great to see Morishima Sensei turn up as well as Nakada Sensei. John Honisz-Greens is also training there and it was good to meet up with him there and later on in the week in Tokyo. There were a lot of new faces there as well but everyone is very friendly and welcome. We spent a couple of hours doing Seitei and then gradually moved onto Koryu. The evening went all too fast and we finished at about 11pm and joined Jane Styles for a drink and a bite to eat at Fujiya Restaurant.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">I will hereby provide a slight preface to my learning experiences there by saying that I am not going to relate everything I learned while training there. Firstly, and most significantly, I have probably already forgotten more than I have learned and hence the importance of writing everything down as soon as one can. With our busy schedule and the need to have a beer in the hot rainy season, I stupidly discarded this sound bit of advice. Secondly, a lot of what was told to me was for my particular problems and circumstances and might be misleading if I relate it here as if Sensei was distributing it freely. Thirdly, there were some points which were extremely insightful but I would not do them any justice at all if I relate them as my way of communicating them is at best, third rate compared to how Sensei would explain it. I will instead try to talk about how the experience of training there affected me and the way I do iaido.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">I firstly noticed that some of the better students moved with a terrific essence of stability and precision. On further observation I noted that they have a slightly deeper posture and therefore lower hip position than what we often train with and are taught by the senior teachers. By increasing one's stability then the posture is affected less by the inertia and momentum created by the sword cutting. To this effect, one needs to cut with slightly less power in order to achieve the same level of perceived sharpness.<span style="mso-spacerun: yes;">&nbsp; </span>One thing which I will relate that Sensei is constantly trying to embed into all of his students is the importance of the moving foot to engage with the floor before the major part of the cut initiates. This of course doesn't mean standing still with the sword hanging stupidly above one's head. Instead whether cutting while moving forwards or back, the cutting action is made with body the properly stabilised through both feet. This applies in both seated and standing kata. Moreover, by keeping the body low and the stance deep, one is able to move further and faster on standing techniques as the natural step is made longer. Again this adds to the sharpness and dynamism of the technique.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">On Wednesday we trained in the morning and then had Jodo in the evening. We trained on Thursday, Friday night and Saturday morning and afternoon. Quite a lot of practice I hope. Throughout the sessions Ishido Sensei gave us only information that we needed at that time in bite-sized portions. He completely took apart my Oroshi in the most interesting way.&nbsp;</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">During this week he was working on improving the sharpness of Inari-san and Harry and it was very educational for me to listen and watch the points. If I was to try to outline what the main points were (and repeating much of what I have already written) in order to create this sharpness I think I would classify them to the following areas:</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><b><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></b><b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Stability: </span></b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">The posture (shisei) is maintained to that which is intended during the various parts of any form. It is not always necessary to remain dead upright either with the angle of the back or the neck. However it is important that peripheral movements of the limbs or the hips or the cutting of the sword do not adversely affect the posture. The back represents the stable axis or pivot around which the rest of the body moves. When it moves it moves with purpose and not as a reaction to something else.</span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><b><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></b><b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Moving and positioning of the feet:</span></b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;"> The feet must be moved into a position which contributes to the stability explained above. The cuts must be timed such that the part of the cut which requires most physical power coincides with the engagement of the moving foot with the floor whether stepping forwards or backwards. The movement of the feet works most smoothly when one is thinking about moving the hips. This way the body height remains uniform and the upper body posture avoids trying to “reach” it's objective too fast (i.e. bending forwards).</span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><b><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></b><b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Preparation: </span></b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">The timing of the lifting of the sword and the cut must allow for the appropriate amount of power generation (<i>tame</i>). This means that the sword should not be lifted to fast but should gradually accelerated in a non-linear rate so that the timing of the cut is perfectly set by the stability of the feet.</span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><b><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></b><b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Metsuke</span></b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;"> – I saw many exampled demonstrated by Ishido Sensei which showed the metsuke being actually used rather than something that was merely being controlled. The metsuke was used to determine the direction of movement and the cut and created purpose in the cutting action. Without this I think it would be impossible to arrange the preparation and foot movement correctly. Furthermore by fixing the metsuke to a fixed point the posture is better maintained.</span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><b><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></b><b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Flexibility</span></b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;"> – This comes in two “flavours”. Firstly physical flexibility and relaxation so that the sword can be moved freely and easily. Sensei always uses the word “yawarakaku” as a kind of adverb-cum-onomatopoeia connected to furikaburi. This word means softly, flexibly and is the same Chinese character as the “ju” in judo and jujutsu. The outcome of this is that sword moves fluidly and one can gradually feel the increasing of power as the cut builds itself up. The second flavour is concerned with the direction and nature of the cut, a kind of flexibility of intention. Sensei showed a few times how it was important to not set one's direction too early as if the opponent was not moving. Instead one should be ready to move and change one's cut at any point up to the actual contact by the sword. This is only possible with physical flexibility, metsuke and appropriate preparation.</span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Power Control: </span></b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">One of the objectives of continuous training is to increase the strength and power yield of the muscles which are used when cutting and braking the sword. As one increases this power, one should look to “performing” the art to a moderated level. During actual training though one should carefully work within the boundary between comfortable stability and that point of pushing the boundaries slightly, maybe just edging into the area of instability slightly but not so much that it is destructive to one's technique or stability. One is then able to deliver sharp, powerful cuts within a framework of good posture, timing and control. I believe that one of the aspects and meanings of iai is not only to blend and harmonize with one's surroundings but to also harmonize the internal aspects of movement so that body movement, foot movement, metsuke, shisei and the speed and power of cuts are all in balance with each other. Our sensei at the 6<sup>th</sup>dan grading advised us to use 80% of our available power during the pre-grading training and in the grading itself. Ishido Sensei is always urging us to make sure are cuts are “sharp” (and he says this in a way which seems to mean using your body strength adequately to make the sword move fast but with stability).&nbsp;</span></div><div class="MsoNormal" style="margin-left: 36pt; text-indent: -18pt;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-QQ8-t6GX3A8/T_nIVdsPbjI/AAAAAAAAAOs/AVWT6edNiiI/s1600/Shugyo+blog+power+moderation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="281" src="http://4.bp.blogspot.com/-QQ8-t6GX3A8/T_nIVdsPbjI/AAAAAAAAAOs/AVWT6edNiiI/s400/Shugyo+blog+power+moderation.jpg" width="400" /></a></div><div class="MsoNormal" style="margin-left: 36pt; text-indent: -18pt;"><br /></div><div class="MsoNormal" style="margin-left: 36pt; text-indent: -18pt;"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">When we are told by our Japanese sensei's to cut more “naturally” I sincerely don't believe that anyone is born with a natural sense of how to cut and I am even more convinced that they mean to use a natural amount of power in the context of what we can deal with at the current time. The objective should then be to move that framework up so that each one of our “natural” cuts gets gradually more fast, powerful and “sharp” without causing problems for the rest of our body. If we train to push that envelope further to the right then our improvement should surely be faster.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Jodo Time!</span></b><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;"></span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span>Sunday would be an episode of what I would remember as being of pure “jamminess” (for non-English English speakers this refers often to the kind of luck that goes to the undeserving – the latter is probably me). Sensei put Harry and me forward for the 30<sup>th</sup> Kanagawa-Ken Jodo Taikai which also happened to the 1<sup>st</sup>Yano Sensei Memorial Taikai. We were of course both in the 5<sup>th</sup> dan division along with Jane and lots of other extremely skilful Jodoka. The event was a straight knockout and both of us got eliminated on our 2<sup>nd</sup>fights 2 flags to 1. I lost against Sanno-san who went on to the win the event and I was extremely honoured and privileged to be asked to be his Uchidachi for the rest of the event. We were also asked to judge in the event which was interesting as lots of the other 5<sup>th</sup> dans had clearly never judged before. It was funny to hear Harry's clear annunciation of the commands with better confidence and clarity than some of the other Japanese judges. Ah well.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">It was interesting to watch all the levels fighting and compare to what we see in Europe. At this event I believe that nearly all of Yano Sensei's dojo members were encouraged to take part from the very young through to the more mature. All performed with great enthusiasm. Given the fact that everyone was competing, the range of technical skill was quite a lot wider than we would see at a European Taikai. There were some people who clearly weren't so experienced or with natural skill (whatever the hell that means) and there were some people who were absolutely devastatingly good. By that I mean that they were very consistent with their technique. Watching the 7<sup>th</sup> dan taikai was also very interesting as they ranged quite a lot in terms of age (I would guess from about mid-40's through to late 70's) but they were all consistently “clean” i.e. they all had good clear technique with little evidence of bad habits or idiosyncrasies.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Towards the end there followed a Koryu embu which was interesting. As the 8<sup>th</sup>dans got ready to go on, Otake Sensei wandered over and said that he had lost his Uchidachi who was busy filling out menjo and he needed a partner.....and he asked me! I thought it was a joke at first but he insisted and so I went on with three 8<sup>th</sup> dans and did Tachiotoshi through to Ran Ai. Sadly my camera ran out of memory before we got to Ran Ai but here is the movie of the embu....</span></div><div class="MsoNormal"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowFullScreen='true' webkitallowfullscreen='true' mozallowfullscreen='true' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzfb98rvGr5R5MuavJsFpJhTB_BI-2AM4nlRIep6184KfZkC1e1pyGQhbYFSc8GrvVBdqPz4hI-7OnS43sUtQ' class='b-hbp-video b-uploaded' FRAMEBORDER='0' /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">In reflection from this embu I got four points of observation:</span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">My head often leads a bit too much (this happens in iai quite a lot too), this is very obvious in the first form on the embu, Tachiotoshi. My overall shisei would be improved if I could just keep my neck aligned with my back a bit more.</span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Otake Sensei told me that the course of the jo is coming round a bit too wide and should be following a narrower path.Tachiotoshi</span></div><div class="MsoNormal" style="margin-left: 36pt; text-indent: -18pt;"><span>3. &nbsp; When under pressure I pull the jo back to do kuritsuke in&nbsp; </span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">Ishido Sensei told both Harry and me afterwards to be careful not to step forwards too much with the left foot prior to Ai Uchi. He said that it was his bad habit as well and I retorted by saying that nearly all high grades do this....ah well.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span>For the rest of our stay in Japan we travelled to Kyoto and took in the most of the main temples there, Arashiyama, Nara, Kyoto Station (quite amazing) and Osaka where we met our old friend Eiko Matsuo. It was very pleasant going to Japan in the rainy season; while it is hot it isn't too unpleasant (especially with the wide installation of air conditioning in all public transport and buildings) and the rain brought something out in the temple and shrine gardens we visited that I don't think we would have seen if it had been dry weather. To see Japan this way I think is to see a true aspect of the country and I felt many times that Akira Kurosawa would have delighted in the deluges of rainfall that we were in and that he otherwise would have had to create with a big hosepipe.&nbsp;</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-fareast-font-family: &quot;MS Mincho&quot;;">I personally think it is important to one's martial arts training to do more than just hack it in a dojo. Seeing the culture, the history, the religion and the people all makes up part of what we follow when we do traditional Japanese martial arts. Even Ishido Sensei insisted on taking us away from the dojo one afternoon to go to Kamakura (and then go discount market shopping as well). Breathing out always has to be followed with breathing in. I will follow this notion up later when I have condensed what I have learned (not that much to be honest) about Katsujinken Setsuninto...</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span>Anyway, I'm back at home now so don't try to break in unless you want to waste some time. </span></div><div class="MsoNormal" style="margin-left: 36pt; text-indent: -18pt;"><br /></div><div class="MsoNormal"><span style="mso-ignore: vglayout;"> </span></div><table align="left" cellpadding="0" cellspacing="0"> <tbody><tr> <td height="0" width="72"><br /></td> </tr><tr> <td><br /></td> <td><br /></td> </tr></tbody></table><br /><br /><br clear="ALL" style="mso-ignore: vglayout;" /><br /> Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com3tag:blogger.com,1999:blog-7380831531289624078.post-13596157188213493212012-06-25T16:10:00.001+01:002012-06-25T16:10:34.490+01:00Erm...<span style="font-family: &quot;Calibri&quot;,&quot;sans-serif&quot;; font-size: 1pt;"></span> <br /><div class="MsoNormal">….well I passed 6<sup>th</sup> dan. That was weird.</div><div class="MsoNormal">What can I say about it? I don’t think the actual embu was particularly enlightening for me although once I had come off I realised that if I had failed I knew what I had to work on next. Let’s rewind a couple of weeks….</div><div class="MsoNormal">Two weeks ago I went with some of our dojo members to Ishido Sensei’s Jodo and Iaido seminar in Villingen. These seminars are always a bit more rewarding for higher grades than the big summer seminars as people tend to get a bit more personal attention and I think the Japanese sensei feel less of a need to go through every single basic point. The Jodo was brilliant although anything Jodo-like will have to wait to be included in Shugyo. The iaido was very strict on basic technical points especially, and I can’t stress this enough, footwork. Ishido Sensei pointed out the important aspects of footwork in nearly every kata and made it clear that the majority of us had never done the footwork in some kata ever (except maybe by accident). We had a little taikai during which I finalised with Claudio. After the taikai, Sensei demonstrated the various points during the taikai on which we should have been judging and judged on. Again he made it very clear that there were dozens of technical points which we were missing and it was all too easy to judge on less objective stuff like “not enough zanshin”. </div><div class="MsoNormal">He went on to explain how all of our judging, whether in a taikai or in an exam, should be based on combinations of three manuals:</div><div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol;">·<span style="font: 7pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>The ZNKR seitei technical manual</div><div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol;">·<span style="font: 7pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>The ZNKR rules for judging taikai</div><div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span style="font-family: Symbol;">·<span style="font: 7pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span>The ZNKR rules for sitting on a grading panel</div><div class="MsoNormal">There is a little bit of overlap between these documents but reading them does help to cement concepts such as chakuso and reiho being extremely important.</div><div class="MsoNormal">On the final half-day Karl Danneker had requested that Ishido Sensei host a high grade seminar for 5<sup>th</sup> dans and above. For this session Sensei watched us running through Seiteigata and then basically tore strips off of us. For me this was absolutely eye opening as being at the front he pointed out every single footwork error I was making and wouldn’t let up until I had started doing it right. It was surprisingly difficult.</div><div class="MsoNormal">The second half of the session was mainly verbal explanations concerning the necessity of careful observation of the self and others regarding technical points. It finished going slightly tangentially into correct attitude and behaviour (I have to post an article on the seven virtues at some point having done most of the translation work on this). I have to say, I think this session overall was the one with the most clarity I have ever been to. Sensei was very strict and set a very high bar for people to aim to but I really liked what he was saying; observe what the important points are, teach them, identify them in others, identify them in yourself, do something about it, start again….</div><div class="MsoNormal">The week was amazing especially as Harry and I had a few days before the seminar to see some parts of Germany around this area.</div><div class="MsoNormal">On the Wednesday in the dojo following this seminar I tried to do a bit of final scrubbing up of my form especially seitei. I have to say, a short course of ibuprofen can do wonders for sorting out one’s feet and legs. I think I realise now that for some time the joints in my feet and ankles must have been chronically swollen but after about one week of pills every day (200mg seems to be quite enough per day) I discovered a new ability to sit in tatehiza and seiza without pain – this was I should emphasise after I had stopped taking them so it wasn’t that my pain receptors were already dulled. Chris made Harry and me do two embu at the end of the class which I hope went okay, it seemed to.</div><div class="MsoNormal">So a few days later I find myself in Bologna (I don’t mean that spiritually) at the CIK-hosted EKF seminar and grading. The ZNKR had sent a delegation consisting of three 8<sup>th</sup> dan hanshi’s: Azuma Sensei, Nakano Sensei and Kamikokuryo Sensei (who was among the delegation sent to Andorra last year). Azuma Sensei took the 5<sup>th</sup> and 6<sup>th</sup> dan group. As per the usual formula we spent Saturday morning having the seitei points demonstrated to us and some of the essential criteria explained. We then split up into dan groups with Azuma sensei taking the 5<sup>th</sup> and 6<sup>th</sup>dans. The session was quite useful if a little slow as Azuma sensei had every point explained for each time we did a kata. Maybe it just felt slow as I was translating along with an Italian kendoka called Leonardo who was doing a fantastic job translating Japanese into Italian.</div><div class="MsoNormal">At the end of the day I asked Claudio to book a few of us a table at a good local restaurant. The few turned into some 16 of us and we had a fantastic time. That evening was absolutely memorable, we all knew each other quite well more or less and it was great to just relax, not talk about budo, eat good food, drink good wine and slap Andrea Setti (who actually seemed to enjoy it – well, Claudio did anyway). I would like to thank everyone who made that evening, it was the pinnacle of…..well a pinnacle of something.</div><div class="MsoNormal">The following day, feeling not much worse for wear we continued the training. This time with a bit more emphasis on grading we did some embu practice and received feedback at the end. There were some interesting questions about timing for the shinsa as in Europe we do not have time limits. Notwithstanding, Luc posed the question what would happen if an individual fell out of step with the others significantly. Azuma Sensei responded that if one person was particularly out of step with the group that it wasn’t particularly “beautiful” – I think we all understood what he meant. Possibly that sort of individual wouldn’t score any particular minus points but at the same time would not get any bonuses either. Luc then asked what would happen if the group were heading way outside of the “five forms in six minutes” format and an individual kept within that time. Azuma Sensei’s response was that it was important to maintain your own inner clock and not end up having your timing dictated by others.</div><div class="MsoNormal"><br />The morning session was over very quickly and everyone scooted off for lunch. Most of the people grading hung around and waited pensively for something to happen. The 6th and 7th dan candidates mooched a bit and then gradually sloped off to get washed and changed into their montsuki's.<br /><br />We picked up our numbers and most of us had a quick slap through the shiteiwaza which I record here because I am quite prone to forgetting:<br /><br />1. Free choice (I did Shohatto)<br />2. Free choice (I did Tozume)<br />3. Ukenagashi<br />4. Morotezuki<br />5. Sogiri<br /><br />Finally the greatest challenge to the grading commenced - The Waiting. There was only the one grading panel and they had to go through all the grades from shodan through to nanadan, four candidates at a time - and there was a <i>lot</i> of them. During the three of so hours we discovered new and exciting ways to sit and be bored and avoid falling asleep or crying. At one point the excitement was so great that I had to buy a&nbsp; ham sandwich.<br /><br />Anyway, eventually we were called to line up. I wished everyone in my proximity all the best and then we went on (I was 601 and so luckily in the first group - the oldest in the group had to stand in teito shisei for some 25-30 mins!).<br /><br />I have to say I don't remember much about the embu. Shohatto seemed to go without too many problems. On Tozume my right foot didn't plant in a secure position on the second cut and I had to scoot it across a bit to remain stable. I did the seitei fairly slowly as I didn't want to cock up on some trivial technical error. I was aware that the whole group were going quite slowly but I thought, what the hell....<br /><br />It was over and I walked off. I should say at this point that, and I'm not sure about anyone else, I had so far spent this weekend on the mindset that we were all going to fail but we all had to take part in this expression of futility. I still felt the same at this point. As I sat down and watched my colleagues doing their embu I realised that if I had failed I had at least identified what it was I should work on. It was this...<br /><br />When I had finished I realised that I had no idea if I had done any technical errors or not. I guess I was, as they say, in the zone. I was thinking only about focusing my attack on someone. I was aware that sometimes the cuts landed well but other than that I could have been retrospectively told anything about my performance and I would not have known any different. It was this, this lack of confidence and awareness about its technical correctness, that was missing. I knew that in the next period of training I would have to work on being able to do the kata full-blooded but still be aware of what I was doing.<br /><br />I watched my colleagues through to the end and I saw some very nice embu.&nbsp; Gradually those that had finished gathered to watch the remaining candidates and then to watch the 7th dans.<br /><br />Once all the gradings were finished we were called to line up and Azuma Sensei outlined what each grade had to focus on. When it came to the 6th and 7th dan candidates he merely said that he hoped we would continue to train and focus on what he had told us in the last couple of days. That was it. It was announced that the results were now posted a the back of the hall and we gradually sauntered over.<br /><br />There were two numbers, mine and Stefano's from Italy. I had passed. I couldn't believe that none of the others had passed though and I am still unsure to this day what the differences were between us.<br /><br />Anyway, it's probably time to finish this post. I want to say though that it was a genuine honour to train and compete with such excellent budoka in the fifth dan group and I am sure that soon they will be with me in the 6th dan group. All of these people, despite any competitive rivalry that others try to impose on the relationships between us, are my friends, first and foremost. <br /><br /><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com1tag:blogger.com,1999:blog-7380831531289624078.post-6362099599165846152012-06-14T17:33:00.003+01:002012-06-14T17:33:44.082+01:00Once more unto the breach...<div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;">Well, I am soon to be off again for my 6th dan grading try (my 2nd time). I had what I thought was&nbsp; a very successful training session last night in the dojo, it is amazing what a course of ibuprofen will do for one's legs. Apart from tweaking a few bits here and there I feel quite positive about my iaido right now.&nbsp;</div><div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;"><br /></div><div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;">We had a fantastic seminar in Villingen, Germany last week with Ishido Sensei and while we were bombarded with points there was no shortage of actual training. Thinking time and space and being able to put concepts into practice is so very conducive to one's progress (there we go, stating the bleeding obvious). Sensei paid me a bit of time and effort to get my footwork better in Seitei.</div><div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;"><br /></div><div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;">Well, it's not going to be a long post this time. I have trained, I have changed, I have lifted the hem on my hakama. I'm sure there is no end of things to do but I would like to be treated at least fairly at this event this weekend.&nbsp;</div><div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;"><br /></div><div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;">Oh yeah, to dedicate a song to this weekend I am going with a small band, some of you might have heard of them. While the lead singer can get on people's nerves quite a lot, the music they have produced is still, in my opinion, some of the best ever.&nbsp;</div><div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;"><br /></div><div style="font-family: &quot;Trebuchet MS&quot;,sans-serif;"><a href="http://www.youtube.com/watch?v=sQC8la3fVlU&amp;feature=related" target="_blank">http://www.youtube.com/watch?v=sQC8la3fVlU&amp;feature=related</a></div><br /><br />Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com3tag:blogger.com,1999:blog-7380831531289624078.post-66543757227008910482012-05-12T20:29:00.003+01:002012-05-12T20:46:20.448+01:00"Sensei" - a personal takeI was recently (and by that I mean in the last year) contacted by a friend (who will remain anonymous unless they tell me that they want to be known for this question) and was faced with the following question-based-email (as I will refer to it), English isn't their first language so I have modified it slightly:<br /><span style="font-size: x-small;"><br /></span><br /><span style="font-size: x-small;"><i>Hello Andy,<br />&nbsp;</i></span><br /><span style="font-size: x-small;"><i>Perhaps I have an untypical question to you but I know that your knowledge is vast in the scope of BUDO.<br /> What appropriate assessment is the relationship between teacher (sensei) and student? What spiritual and mystical aspect is of this agreement? How actually to receive the word sensei from a pupil ?</i></span><br /><span style="font-size: x-small;"><i><br /> Whether you know where I can find it or if the time lets you write please tell me briefly about it as you think. <br /><br /> I wish you calm days and Happy New Year ,</i> </span><i><br /></i><br /><br /><br />I promised to respond to this person on the blog as I thought it would be an interesting post to make and hopefully a good discussion to have.<br /><br /><br />Firstly let's look at the literal meaning...<br /><br /><br />先 = sen;saki, ma~zu: ahead, before, future, precedence, previous<br /><br /><br />生 = sei, shou; iki~ru, ika~su (and about a dozen other readings): birth, genuine, life<br /><br /><br />I'm sure many who study martial arts are aware that the compound meaning is something like "one who has gone before" or "one that is travelling ahead". In Japan, the word <i>sensei </i>is used as an honorific and reference to any teacher, whether that teacher is in a school, a workshop or even a head chef teaching trainees.<br /><br />It should be noted that like other honorifics in Japanese, one never uses it as an attachment to their own name, so for example I might refer to someone as Tanaka-san or Ishido-sensei, they themselves wouldn't call themselves Tanaka-san or Ishido-sensei, they would just say "I am Tanaka" or "I am Ishido". The various references and honorifics in Japanese, whether they are used to elevate a person (san, sama, sensei, dono) or as an equaliser or demoter (kun, chan) are not used by the person to refer to themselves unless they are doing it in an ironic way. If someone writes to you and finishes it with the signature "Johnson Sensei" then they truly are a Johnson in the more vulgar sense. One also shouldn't have the word "sensei" inscribed on jackets, belts or business cards even if you are buying it for someone else.<br /><br />It is, however, not incorrect to say that you are, for example, an English teacher by saying "Igirisu no sensei desu"; here you are merely saying that you are a teacher of English rather than honoring yourself. These are matter-of-fact statements.<br /><br />In my opinion though, most martial artists (or at least the ones that I respect, dead or alive) prefer to follow a most humble path and would say that they are still students of the martial art they follow rather than saying "I am a budo sensei". They might say that they have students but I rarely hear any Japanese sensei making significant references to this fact.<br /><br />All of these aspects are worth thinking about...what does this simple word really mean?<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-ru915vr1Ndw/T669_4KilvI/AAAAAAAAAOg/gpXECjr7C8U/s1600/article-1318093-0B803914000005DC-954_306x423.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-ru915vr1Ndw/T669_4KilvI/AAAAAAAAAOg/gpXECjr7C8U/s320/article-1318093-0B803914000005DC-954_306x423.jpg" width="231" /></a></div><br /><br />I should perhaps make a small diversion and briefly explain some other terms used to describe teacher and how they differ from the word <i>sensei</i>.<br /><br />師匠 = shishou, has a more literal meaning of teacher and is closer to the concept of one's master (the first character <i>shi </i>or <i>sui</i> means commander or governor). If a student has fully signed their life away to a master in the traditional martial arts sense then shishou is a more commonly used reference than just sensei although the latter is perfectly acceptable as an honorific to such a person.<br /><br />指導員 = shidouin, also means teacher, guide or counselor. This word is more technically describtive of someone who carries out the act of teaching (<i>shidou suru</i> = to teach).<br /><br />館長 = kanchou, meaning the head of a place, a director (literally "hall chief"). This word is often used in reference to the person that owns and runs the school as well as the person who might well be the head teacher out of a group of teachers that teach there.<br /><br /><br />Anyway, that's that, back to <i>sensei...</i><br /><br />I want to stray away from what the technical term means and now talk about it's use in the martial arts.<br /><i> </i><br /><br />For those that don't know me that well, I started my training in iaido and jodo in Japan while living there for two years. I had already spent about ten years learning martial arts in the UK such as karate, aikido and jujutsu so I wasn't new to the concept of having a martial arts teacher to respect and look up to.<br /><br /><br />When I started in a Japanese dojo it was of course quite an enthralling moment. Being quite technically challenging to the untrained eye, everyone else who was doing iaido looked like experts at it. At first everyone who I came into contact was by default teaching me something. This was the nature of the dojo. While there was a head teacher there (my first iaido teacher, Noguchi Sensei) the dojo had a very informal and relaxed atmosphere and everyone focused on their own individual practice; seniors would help juniors, peers would offer assistance to others. I was of course at an utter loss and so for the first 6 months or so I would be assigned a senior who would help me. To every single person who helped me I addressed them as "sensei" and it was the most appropriate thing to do. To put it into context these were people who were sometimes older than me, sometimes younger, and ranged from shodan up to nanadan. The term "sensei" wasn't meant to denote "grand master" or anything like that, it was a sincere mark of respect and kind of gratitude for their help. And so this is how my understanding of the general term "sensei" consists: when you line up to bow, everyone up the line is sensei and everyone down the line is pond scum (only kidding). We never used the word "sempai" or "kohai" and my understanding is that this term actually comes from a less-than-martial teaching tradition. In any case, the sempai would normally be the senior student and one that would shout "Sensei ni rei" in a Kendo dojo. I heard the term "sempai" used in a work context but never in the dojo. Maybe it was a regional thing....<br /><br />And so it was back in the UK where I was surprised by negative comments made by people in the BKA that so-and-so was being referred to as "sensei" in their own dojo because they were only 3rd dan. It didn't occur to me that one had to be a certain grade to be referred to as "sensei". I was aware that at larger seminars the honorific was normally used to refer to the top tier of teachers there (maybe 8th and 7th dans) but if one kept referring to every single senior as "sensei" then conversations that started with the words "Sensei told me that....." would be quite confusing.<br /><br />And here, in my opinion, is where we have become a bit mixed up. The notion that someone needs to be a certain grade to be a sensei has led to situations where:<br /><br /><ul><li>Some dojo's have no sensei (by the dojo leader's own definition)</li><li>Some sensei's are derided by others when they insist that their students call them "sensei"</li><li>Some students in Europe think that teachers like Ishido/Oshita/Morita etc. are their sensei because they once went to a seminar where they learned from this teacher</li><li>Some students have no defined sensei which leaves the students feeling a bit lost and wandering</li></ul>I would like to make reference to something Ishido Shizufumi Sensei explained about five years ago at a seminar as a basis for how we might start thinking about the "sensei" concept. He explained that in Japan the person that you first started learning from (i.e. the dojo leader of the dojo you started at)&nbsp; was your sensei...for life. Only through logistical needs i.e. moving to another region so far from your sensei that travelling back to the dojo on a regular basis was implausible, would one be able to change sensei and then only through an agreement suitable to both incumbent and future teacher. He then went on to explain that just because someone had been to one or all of his European seminars and even been to train at his dojo, it didn't make him that person's sensei (by this he meant personal and singular sensei rather than just the honorific reference). He clarified that he actually only had six European students, his six <i>monjin</i> (literally, students, in order of dan grade for no other reason than it's a defined order): Jock Hopson, Victor Cook, Chris Mansfield (my teacher), Len Bean, Loi Ah Lee and Louis Vitalis (I might have misplaced Louis in the order there but I can't remember when he took 7th dan, sorry Louis!). He also defined a number of people to whom he had an advisory capacity in their training, his <i>daihyo </i>(or representatives). Everyone else was either a student of these people or were people who could come to his seminars of their own free will, there was no other category...<br /><br />I found this very interesting, the label "sensei" was a sliding one and could be used in a certain context but one could, if not careful, use it inappropriately. To say to someone "You are my sensei" and to be then told "No you're bloody not, sunshine!" would be an interesting bite of reality. It is from this understanding that I take the next part of the discussion.<br /><br />Some people WANT to be a sensei. They want students, they want followers, they want the respect. These may well be people to steer well clear of in my opinion. Why is this - not because I don't like arrogant respeck'-hungry people (although I don't) but merely a concern that these people probably don't understand the <i>immense</i> responsibility they are undertaking. A responsibility which I think is understood by more experienced teachers and thus one which shouldn't be greedily and ignorantly propagated. <br /><br />And so we get to the crux of the answer to the original question.<br /><br />I personally am not a <i>shisho </i>or<i> kancho</i> i.e. I am not a dojo leader and thereby the head of a dojo and not anyone's formal sensei per se. However, since our dojo members have propagated and while this happened while our sensei was in Japan, I feel a certain sense of responsibility for all our dojo members. If I was their formal sensei (which I am not I hasten to add) then these are some of the considerations I would have:<br /><ul><li>I would be responsible for imparting information to them at a time and in a way conducive to their own learning path and style.</li><li>I would be responsible for ensuring that while I cannot be an infallible exponent of the martial arts, I can ensure that my own training and learning is progressive i.e. I train, and hard.</li><li>I would need to keep track of my students' progress and making sure that they are adequately prepared for gradings.</li><li>I should ensure that their experiences within the dojo were of net positive value, that is not every session can be ultimately enjoyable and sometimes there are bad times but on the whole the student wants to be there and feels that they can learn and develop.</li><li>I should ensure that interactions between students was also positive, i.e. no one was being bullied or intimidated.</li><li>I should strive that our dojo's name was kept respectable such that my students would be treated well when at broader events such as seminars, gradings or taikai.</li><li>I would be responsible that the training that my students took part in would be healthy, physically, emotionally and mentally.&nbsp;</li><li>That if any of my students behaved badly either within or outside the dojo, while I cannot take responsiblity for the actual occurance, that I would be responsible for how that student was dealt with.</li><li>I would be responsible for ensuring the longevity of the dojo through correct administration or delegating these tasks to those who are willing and able to do it themselves.&nbsp;</li><li>That by inference, any behaviour that I partake in is by definition allowable by any of the students - that is, that I should be careful how I behave so that my students incorporate good behaviours rather than ones that I accept in myself but find abhorrent in others.</li></ul>These are, I think, the <b>minimal</b> considerations (and not an exhaustive list, to boot). If someone wants to take students and make them European champions and demigods unto others then that's a whole lot of other responsibilities.&nbsp; A lot of these responsibilities I am sure develop with time and experience. Many, if not most, of the dojos in the BKA were started by people at shodan level who wanted somewhere to train and gradually attracted people who also wanted to train. These dojo-openers were left with the perplexing task of being, by default, their members' teachers. I should hasten to add, there's absolutely nothing wrong with that. Like politicians, the reluctant teacher is, I believe, the good teacher. If they were faced with a list of responsibilities such as the one I listed above and told that these were the things that they had to fulfill to merely open a club, many might not have done so and a shame that would have been.<br /><br />In Europe nowadays we have many people in our own countries or countries only next door which have senior and experienced teachers who by the marvels of modern transport are not so difficult to access. They might not however be accessible to every person who seeks to start training and that is where we have, mainly studious, people who open a dojo so that others can come and train if they want to. And there, within those humble boundaries, a sensei is made...<br /><br />This person doesn't necessarily want or consider themselves to be a teacher but they want to train and they don't mind encouraging others to do so - someone has to pay for the hall rental and it can be quite a lot. As time goes by, with people "under" them wanting to learn more from this dojo-opener, the person trains harder; harder than any of their students. They travel further to learn more, they come back and share this knowledge, they drive their students to their first seminar and make sure they are looked after, they introduce their students to other people from other dojos who this person already knows. They remind their students that an interesting seminar is coming up and as it is a full three months away, the student might want to consider taking their first kyu. They bring a first-aid kit to the dojo and stick plasters on their student's feet when they injure themself on the floor. They are first to the hall and sweep the floor so that their students don't get grossed out by the dust and muck that their previous hall users left behind. When two of the students start arguing about a point, they quietly intervene and set the record straight. Without even knowing it they have become a sensei, not just the door opener but a leader and a well respected one. They are ones who have gone before and they are ones whose trodden path others wish to follow.<br /><br />And this describes the vast majority of dojo leaders that I have met in Europe. There are some exceptions of course but these are in the minority.<br /><br />But now come the hard lines. Some of these dojo leaders, club-openers, sensei, whatever you want to call them, don't want to be known as "sensei". They respect their own inspirational teachers too much to want the term to be diluted and deferred to them. These dojo leaders are humbled by their highly experienced Japanese influencers. They are neither masters nor teachers, they are just people who have opened a club and let others come to train with them. This unfortunately does cause a problem. Tanaka Sensei, the person from whom this person learned iaido/jodo/kado/shodo through many European seminars and visits to Japan, doesn't even know this person's students. The dojo leader can hardly point at a photograph of Tanaka Sensei and tell his dojo members "THIS is your sensei". How can this person (Tanaka Sensei) be their sensei? He doesn't come to their dojo, he doesn't teach them anything directly,&nbsp; he doesn't check their keikogi before going onto their grading, he doesn't bring the first aid kit or the money tin to the dance studio where they train. No, that club's sensei is the person who greeted that shy and geeky student when they walked through the door. <br /><br />The humility and respect for those further along the path does this dojo leader credit and much due respect in itself but for all their reluctance to be known as "sensei" they have become one. And probably a good one at that. Unknowingly they have probably already taken on board many of the responsibilities that I mention above and probably more. Their students might consider these people to be personal and personable friends even someone they might joke with or even ridicule in moments of good humour (and drunkeness). But, this person is their sensei and in the dojo they are such.<br /><br />Other senior students in the dojo might (and I mean, <i>might</i>) be referred to as sensei as well, or sempai or Fred but <u>the</u> sensei is this one person.<br /><br />For many of us in Europe who might have little understanding of the culture that most Japanese people were raised in (with what might be becoming a more pervading exception in modern times) this relationship is something that is gradually learned and developed rather than something that one starts in a dojo with. If one is lucky then all of these aspects might be explained to them on them starting if the dojo leader is an experienced sensei and has already established a good structure in the dojo with senior students who have taken on responsibilities themselves. In an ideal sense, the relationship between sensei and deshi (pupil) is almost a contractual one: you come and train here and trust what I teach you and I'll let you train here and try to teach you as to the best of my abilities.<br /><br />I am talking in an idealistic sense here still and one that some might take getting used to. On the basis that "the sensei" is responsible for all their current students' wellbeing and personal growth, they may also have to vet people who come through the door, sometimes turning them away and sometimes letting them in. This is the sensei's perogative in their dojo (I emphasise this because I am aware that in some European countries, the martial arts club has to be part of a municipal body and thus have to accept everyone who wants to join within the limits of the dojo space): if they want a dojo full with young attractive women or strapping hunky lads then that is up to them (the smell of hairspray and/or testosterone might make it not the most nice place to be in though).<br /><br />As Peter Parker said, with great power comes great responsibility. Maybe that should be modified for martial artists though: with experience and dan grade comes great responsibility and....not much else. In perhaps more older and traditional dojo in Japan, the master did have much power in fact. If they gave a bowl of disgusting food to their student and said "eat this" then the student would eat it; if they said black was white and white was black then the student would believe it too. Certainly in times when listening and taking on board the most trivial of a master's commands could determine life or death this might have been the best approach to take.<br /><br />We don't live in those times and how much of that tradition we take up is really up to us. Some people see martial arts as a hobby, some see it as something else. Some see their dojo leader as not much more than their coach, others see them other ways. How a sensei creates this atmosphere may well be up to them but I don't foresee any students being sent off to kill another dojo leader or political figure....I hope.<br /><br />So finally I want to break down the original question into chunks and make sure I have answered as best I can:<br /><span style="font-size: small;"><b><br /></b></span><br /><ul><li><span style="font-size: small;"><b><i>What appropriate assessment is the relationship between teacher (sensei) and student? </i></b>I think I have answered this quite comprehensively. Ultimately the contractual one above I think is the most appropriate - I teach, you learn, I say, you do.</span></li><li><span style="font-size: small;"><b><i>What spiritual and mystical aspect is of this agreement? </i></b>I haven't really covered this mainly because I would only be speaking from my own opinion and aspect but I think you will understand my opinion on this if I explain that I would describe myself as an atheist, a sceptic, a secular humanist, a student of science and an environmentalist. I don't keep much stock in terms of spirituality or mysticism. I believe that the road opens differently for all of us and that the sensei is one who provides the context for "guided discovery". They shouldn't be or need to be the spiritual counsellor for something that is best discovered for oneself. They can certainly share their own experiences but the best teacher is the one that advises their students "to go and have this revelation yourselves, discover the world for what it is and not what someone tells you it is, be considerate, be careful and be adventurous."</span></li><li><span style="font-size: small;"><b><i>How actually to receive the word sensei from a pupil ? </i></b>As I have described it and as I think most people mean it. I respect you but you have responsibilities. If I call you sensei then it is because you have proved that my respect is well placed. I trust you and I hope that you trust me. I entrust the guidance for the development of my budo to your care even though it is me that has to walk this path. I will in turn help you to do your job as best as I can and I will do my best to support you and represent the dojo in a good light. If either of us step across a line then we will either have to withdraw carefully or walk away from each other. My respect is conditional as is your teaching.</span></li></ul><br /><br />For more on this subject I suggest you read the following link...<br /><br /><a href="http://www.arlingtoncemetery.net/omarnels.htm" target="_blank">http://www.arlingtoncemetery.net/omarnels.htm</a><br /><br />on General Omar Nelson Bradley, the "Soldier's General" and the model on which I try to be the best encouragment for others to train hard in the martial arts.<br /><br />I hope my opinions are reasonably clear. I don't mean to be disrespectful to anyone, I believe that every dojo is a microcosm and an association is not a nationwide dojo but rather a collective of dojos, each with it's own sensei and structure.<br /><br />That's me done, howabout you?<br /><br /><br /><br /><br />Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com7tag:blogger.com,1999:blog-7380831531289624078.post-40045277756463326552012-05-10T15:21:00.002+01:002012-05-10T15:53:08.027+01:00An Ukenagashi study<span style="font-size: small;">I got to the dojo in plenty of time last night to do a thorough warm up, stretch, do some cutting exercises and generally try to get some enthusiasm to train.</span><br /><br /><span style="font-size: small;">I had been feeling a bit poor about my Sogiri from the last couple of sessions and so thought to just hack through some of these. I must have done about twenty or so and varied the speed, direction within the dojo and eventually practiced doing the kata while turning a 90 degree curve</span>, sometimes to the left and sometimes to the right - it's surprising how disruptive it can be to the cuts. I felt a lot better after doing this and Sogiri felt like it had tightened up somewhat.<br /><br />I decided to then do some deeper practice into Ukenagashi and this, dear reader, is what I will devote the rest of this posting to...<br /><br /><b>Ukenagashi - The Basics</b><br /><br />Let's first look at the grading points from the ZNKR manual:<br /><br /><ol><li>&nbsp;When the parry is made does it protect the upper body well?</li><li>Is the left foot brought back behind the right foot and the cut made along the kesa line?</li><li>After the cut has been made, is the left hand in front of the navel and the sword tip a little below horizontal?</li></ol><br />And also from the ZNKR Central Seminar Iaido Special Points Document:<br /><br /><br /><ol start="1" style="margin-top: 0cm;" type="1"><ol start="1" style="margin-top: 0cm;" type="a"><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 72.0pt;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">The left foot should be driven to a position inside the right knee with the toes pointing outwards slightly.</span></li><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 72.0pt;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">At the point indicated above, the toes of the left foot should be aligned with the right kneecap.</span></li><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 72.0pt;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">When the parry is made, the feet should more or less form an <sup>/</sup>| (Japanese katakana “i” shape).</span></li><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 72.0pt;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">From the deflection into the cutting of the kesa, the flow of the form should ensure that the deflection is properly made, the kensen is not swung around, and the cut is made in one continuous flowing motion without stopping at the apex of kaburi.</span></li><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 72.0pt;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">The drawing up of the sword (nukiage) is actually before the kensaki leaves the koiguchi </span></li><li class="MsoNormal" style="mso-list: l0 level2 lfo1; tab-stops: list 72.0pt;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">The above means that the actual deflecting movement takes place just as the kissaki leaves the koiguchi and the right foot moves inside the left foot to form a Japanese “i” shape.</span></li><li class="MsoNormal"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">At this point of deflection the body is facing the to the left of the shomen*.</span></li></ol></ol><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;"><span style="font-size: x-small;">*This last point seems to go through the greatest number of annual revisions. </span></span><br /><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.5pt;">&nbsp;</span> <br />It was also pointed out to us last night from Chris Sensei that the right foot does not have to butt up inside the left foot completely but should be in the right zone to roughly create the "i" shape.<br /><br />The positioning of the feet and the lateral position change of the head has been the cause of much discussion in the last few years, in Japan as well as Europe. I try to follow my own lineage of teachers although it is always useful and interesting to listen to others. There are a few points which seem to be common to all opinions at the moment:<br /><br /><ul><li>The head shouldn't move <u>significantly</u> from it's original position when seated (note that it is impossible to not move the head as one's hips raise - it's probably best to have the notion that the head is going to remain on the original cutting line throughout the kata; it's not going to happen!)</li><li>To facilitate the above, the positioning of the left foot should be that the body doesn't "walk" to the right as the kata progresses</li></ul>Regarding that first point, I have personally had quite a few discussions with people about what the opponent is doing during the kata - do they aim for the head and then change the direction of cut or are they aligned with the knees and aiming for where the head is moving towards? I think the best answer I observed was from Yamazaki Sensei (from Shizuoka) who back in 1999 in Brighton demonstrated with Ishido Sensei as the uchidachi, how this form really works. Ishido Sensei came piling in with a full speed cut, Yamazaki Sensei stood up in an instant deflected and cut. It was some of the most dynamic iai I had seen. What was noticeable was that there wasn't the time for the uchidachi to re-establish targets and change direction, everything was over in a second.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-hrzyxZqljeA/T6vPulCENPI/AAAAAAAAAOI/k2sKYwBAOYQ/s1600/Ukenagashi.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="http://2.bp.blogspot.com/-hrzyxZqljeA/T6vPulCENPI/AAAAAAAAAOI/k2sKYwBAOYQ/s400/Ukenagashi.JPG" width="400" /></a></div><br /><br />Ishido Sensei always talks about rotating upwards as if changing a light bulb above one's head. This also helps to create the image of one trying to remain as centralised as possible.&nbsp; <br />&nbsp; <br />My personal opinion to base my own training is that I will endeavour to remain on my original line as much as possible but only in as much that it does not incapacitate my ability to stand up. I have quite strong legs for my bodyweight and if the form is slowing me down then I think that something in the basic shape is wrong.<br /><br />Anyway, I asked Cezary to film me doing Ukenagashi, first four times with me just doing a natural Ukenagashi. I then slowed down and tried two times to limit my rightward movement. <br /><br />Here are the first four:<br /><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowFullScreen='true' webkitallowfullscreen='true' mozallowfullscreen='true' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dw2NWSD7BJlFcegifVQUPAGFErkEMeO9o_73_AbpiysoQFGK1fjexKFbhasxfpxua2MqZwoB73E4bu2pyEGnw' class='b-hbp-video b-uploaded' FRAMEBORDER='0' /></div><br /><br /><br />And then the final two with me taking a bit more care about left foot positioning:<br /><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowFullScreen='true' webkitallowfullscreen='true' mozallowfullscreen='true' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dySXcyaBqgkWdPblXEUBOrkpeHtgPaUZFQG_WhH1tRRXLPDA0pPOkqK9FYy3ljmcNQj6PNYDQHLY02wlDnevA' class='b-hbp-video b-uploaded' FRAMEBORDER='0' /></div><br />It is possible to see from the last kata on the final movie, the one which I consider subjectively to be the most compliant with the foot position rules, that some lateral head movement is unavoidable.<br /><br /><br />The residual frames and arrowed line demonstrates the course of the movement.<br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-3LZTBxr-_bs/T6u_m6HJiZI/AAAAAAAAAN8/iDXhcEdXdbo/s1600/Ukenagashi2.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-3LZTBxr-_bs/T6u_m6HJiZI/AAAAAAAAAN8/iDXhcEdXdbo/s640/Ukenagashi2.JPG" width="329" /></a></div><br /><br /><br />I believe there is a way of keeping the head at the same point but unfortunately it requires yoga-like movement and positioning the left foot actually next to the right. This requires a substantial amount of time and more than is required if the opponent is sitting a minimum distance from you i.e. within one sword + one arm length away.<br /><br />I did notice from my embu's that one thing that I am not doing is allowing the sword to come up from the deflection to a position above the right shoulder. Instead I am letting the kensen swing behind me and am cutting from there.<br /><br />I have in the last few weeks been trying to change that so that it cuts from approximately the same position from the upper point in Kesagiri. Still work in progress by the looks of things.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Anyway, as is my style of learning I scored and tracked my performance throughout using the main basic criteria set above. I changed the order of the criteria so that they more or less fall in the order of techniques in the form.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-MW4RtYCEizE/T6vVDH5GHVI/AAAAAAAAAOU/_rm6cy2lgUg/s1600/Ukenagashi3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="352" src="http://1.bp.blogspot.com/-MW4RtYCEizE/T6vVDH5GHVI/AAAAAAAAAOU/_rm6cy2lgUg/s400/Ukenagashi3.JPG" width="400" /></a></div><br /><br /><br />Gradually some improvements appear as I work through the kata but I really have to work on getting the kissaki up after the deflection. I was quite hard on myself as while I managed to keep the sword moving in a flowing movement I am always moaning at my other dojo members for cutting with the sword behind them.<br /><br />I also noted some good points that I was attempting to keep to and I note them here:<br /><br /><ol><li>The right hand should move directly up and not outwards only to come back again.</li><li>The right hand should make the deflection while over the right shoulder.</li><li>All of the fingers of the right hand should remain in contact with the side of the tsuka throughout the movement.</li><li>The sword should turn in the right hand when finishing noto so that the right hand finishes in a proper reverse grip of the tsuka.</li></ol><br />Well that's quite a bit of work done on the blog, I'm off for a holiday (not really).<br /><br /><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><br /><b> </b> Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-80050694778937181352012-05-08T22:16:00.001+01:002012-05-08T22:16:51.053+01:00Still going...It's certainly become a bit of a struggle to keep up with the Shugyo blog, I'm either working, training or writing my other blog (as well as doing other stuff of course).<br /><br />I have been trying to ensure that I get at least some token practice in at every occasion to do so. I am still giving lots of focus on my koryu but am now getting back to basic seitei training. I am planning to do my 6th dan grading again in Bologne in June, it's going to be an exciting adventure...<br /><br />I think I am quite stoic about my grading now, I realise that there is quite a lot I can do to influence the result but some aspects may be utterly out of my reach. For those aspects I plan to work a different route.<br /><br />So what have I achieved of late:<br /><br /><ol><li>After getting some feedback from Oshita Sensei on the phone I have retuned my Shohatto so that the seme between nukitsuke and furikaburi doesn't die. Initially this has had the effect of shortening my Shohatto but that might not be a bad thing, it now gives me some opportunity to stretch it out again without it becoming unreasonable.</li><li>I have been working on my timing of Gyakuto especially with regard to the seme-step-cut episode after having watched my peers do it.</li><li>Chudan has generally been given a lot of attention and I am trying to get Iwanami up to the same level as the other katas in this set. I am also using this to move Project Delta on...</li><li>I have been doing more work on seated Okuden and especially trying to smarten up Shihogiri.</li><li>Seitei-wise, things are generally moving on although I feel the need to work on my Sogiri as that has become quite weak of late, probably due to lack of practice...</li></ol>Anyway that's it for now.<br /><br />Laters.Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-87049168919043361922012-04-12T16:18:00.002+01:002012-04-12T16:38:56.487+01:00Return to the keyboardJust to let everyone know that I didn't decapitate myself or anything like that. This is the first time in months where I have had something like a spare few minutes and something to write about. Work, BKA, sleep....that's kind of how it goes at the mo'.<br /><br />I have been training regularly in the last few months, tending to do a bit more koryu than seitei as this is what I have found to be more enjoyable as a general way of training rather than hacking my seitei. I helped out with the teaching at Bideford which was an interesting training experience. It is always very educational to watch others practice (I don't mean that with any sense of irony) especially when it looks like they are having problems. To understand how people imagine forms should be enhanced can make one question one's own understanding and reasoning behind things like power emphasis, timing and balance. I saw many people who were trying to cut with the right hand just above and in front of the forehead. Naturally this puts all the work responsibility on the elbows and wrists which are not by any means the most powerful muscle groups in the body, nor is it conducive to generating large cuts and some degree of momentum. I'm not sure why people feel it necessary to cut this way. Pass someone an axe or a sledgehammer and I'm certain they will use it far more expediently than the sword. I'm not suggesting any infallibility in my own cutting technique only some genuine wonderment as to what image people are holding.<br /><br />Getting back to the main topic of my 6th dan grading preparation, on Tuesday I started putting in place moves to try the grading again in Bologne in June and there is a part of me that is genuinely excited by the prospect of going to a different type of budo event for this. I know that quite a few of my friends and peers are also going so it will hopefully be an enjoyable time. Members of the Trust! Facebook group will know my feelings about the grading politics themselves, I will keep this blog free of them for now.<br /><br />With this new fire in my tail I went back to my seitei training last night. I have a lot of things to work on in the next couple of months of prep time:<br /><br /><ol><li>Control of the kissaki during ochiburi.</li><li>Keeping my shoulder down in nukitsuke.</li><li>Developing flexibility back into my toes and feet.</li><li>Losing 5kg of bodyweight.</li><li>Balance at the end of Ukenagashi.</li><li>Almost all of Kesagiri.</li><li>Sayabiki/Sayabanare in Morotezuki.</li><li>Furikaburi in Ganmenate.</li><li>Intensity of Sogiri.</li><li>Not cutting my arm off in Nukiuchi.</li><li>Shortening my hakama (!)</li></ol><p>In addition I want to do some academic study and ensure I know all the grading points for all the katas in the seiteigata (who does know them all?). I have translated and represented them several times but it's sometimes difficult to keep them all in the head.</p><p>I had some thoughts earlier this week concerning Junto/Kaeshaku that I wanted to get onto the blog but it will have to wait for another time. Alas.</p><p><br /></p>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com2tag:blogger.com,1999:blog-7380831531289624078.post-28250263341125183162012-02-16T00:17:00.003+00:002012-02-16T00:31:43.932+00:00Ketchup!Well, it's been a while again, sorry for not keeping my promise and keeping these posts regular. Work and BKA tripe has been stealing my spare time again. I have been training quite regularly though with some extra sessions at Hilary's dojo on Saturday's as well as some extra sessions afterwards and some iai after Jodo on Sunday's.<br /><br />It came to my attention this evening that I haven't really done any seitei practice since the European champs last year. Only by Chris Sensei forcing everyone to run through the seitei did I do any this very evening. Thankfully it felt ok and I think that's quite a good testament that Koryu practice alone can spread it's effect over all of one's iai.<br /><br />In terms of strength and stamina, tonight was a good night. I've had a few bad sessions recently, last Wednesday finding a general lack of energy (turned out I was about to be ill) and then Saturday hurting my shoulder (again) during the extra training).<br /><br />So where am I with stuff? I am trying to retune my Shoden a bit to make it a bit sharper and less stretched out. This is generally only possible when I have the energy to do so but every time I do it's a repeat of the same old lesson - it's your feet and legs that makes your iai!<br /><br />Chuden is taking a bit of a back seat and I am still having problems with Iwanami. The few pointers I have had from Sensei have made Toranoissoku more effective though.<br /><br />I have been working a bit on standing Okuden and gave Somakuri a bit of a thrashing the last few weeks. It is absolutely one of those kata that keeps on developing (i.e. it is bloody hard). I think I have done quite well when I isolate one component cut from another. I believe that the challenge of this form is starting and finishing each cut and each step at exactly the same time. This is a bit different from Sogiri and gives Somakuri it's sharpness. I am gradually working on it but it takes a long time to make improvements.<br /><br />Anyway on we go....Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0tag:blogger.com,1999:blog-7380831531289624078.post-3625418217280932112012-01-05T23:36:00.005+00:002012-01-06T00:26:22.187+00:00Hatsunuki: Ryuto, Yokogumo and IwanamiWell I'm covering a couple of sessions now and still keeping on a koryu theme. I am finding lots of things interesting to work on the more time I spend delving into the various koryu kata but I have been keeping myself busy with Shoden and Chuden recently.<br /><br />I focused on Ryuto recently, trying to do it by a factor of 10 against other forms as I realise it really is a form that requires some kata mileage in order to be good at it. Like most other forms it's performance is related to leg power as the entire speed is dependant on getting up quickly. The bits I am trying to focus on in particular are:<br /><ul><li>Ensuring that the draw is done with a relaxed attitude so that the sword glides out smoothly instead of it being snatched. Snatching the sword tends to cause the action to stop at it's conclusion which then halts the form. By drawing smoothly the draw leads nicely into the block without pause.</li><li>Getting the weight accurately balanced on the knees at the end of the draw so that the left foot can quickly be brought into position and action.</li><li>Trying not to spend too much time posing once the stand has taken place and the blocking sword brought out of the way. At the same time I don't want this to be a rushed moment.</li><li>Ensuring the body is turned to face the opponent before stepping in to cut.</li><li>Being careful not to reach for the sword as the cut takes place but to rather let the left hand catch the sword at the end of the moment.</li></ul><p>I have tried to emulate Ishido Sensei's timing of "<span style="font-style: italic;">tatum-tum</span>" but it is very difficult. It might be better for me to do the form less sharply and more gracefully given my size but I still want to be able to do it quickly. I think I have written this all before in a previous post.</p><p>I want to jump forwards to Iwanami now. I train in guilt that I always tend to skip this kata a little bit, not doing it more than once or twice compared to the grating I have been giving the other Chuden katas. I'm not sure why I had this reluctance but it's probably to do with the difficulty I have in controlling my weight distribution and being able to slide back cleanly and rapidly. Still, I decided last week to give this one a bit more attention and set to work on it. The first thing I was steered to do (in fact this bit of advice came a long way back) was to try to get the body moving back without the whole body coming up first. After that it is a case of nice timing as there is a propensity to do this form quickly but without much in the way of meaning. It's difficult to write about the mental block I have around doing the sweeping cut but it's probably hesitance about doing something quite strenuous like this cut while both feet spend a bit of time off the floor. Perhaps I don't understand that bit properly...</p><p>Jumping back now to Yokogumo. I like this kata and I think it probably has a longer history than Shohatto and would thus be a primal seed of all the seated kata. Chuden, being shorter in distance and timing than Shoden, tends to move quite quickly and I have been aware that Yokogumo may well lend itself to speed training in iaido. To this end, and on the basis that generally my iaido is a bit sluggish due to my size, I have decided to make this form "one of my own". By this I mean, I am putting a little bit of me into the version of this that I want to do. In my opinion (only), the rapidity of the form is created thus:</p><ul><li>The sword is drawn approximately half way out before the hips rise (although they are tensed while the sword is moving to lend themselves to a quick movement forwards).</li><li>The last half of the draw and the nukitsuke is performed at the same time as the hips rising and moving forwards into quite a quick draw.</li><li>At the end of nukitsuke, the feeling in the feet and lower body is to be pushing the body forwards into the kirioroshi. This doesn't have anything more than a very subtle effect on the posture, most of the contrast is felt internally.</li><li>The furikaburi footwork is similar to Seitei mae and should be done simultaneously with the sword-work of furikaburi and the following kirioroshi. It should really be done quickly.</li></ul><p>These last two points are the ones I was working on last night in particular. The diagram below sort of shows what I mean in terms of the tension and position after nukitsuke:</p><p><a href="http://4.bp.blogspot.com/-1L7i5yyyqbE/TwY9sDX3VLI/AAAAAAAAAM4/GueYIUuzRWw/s1600/Yokogumo.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://4.bp.blogspot.com/-1L7i5yyyqbE/TwY9sDX3VLI/AAAAAAAAAM4/GueYIUuzRWw/s400/Yokogumo.jpg" alt="" id="BLOGGER_PHOTO_ID_5694306605885510834" border="0" /></a></p><p><br /></p><p>In Shohatto, even if nukitsuke is created with a forward feeling of the body into the draw, the final position should be quite well centred and upright. The rear foot is gently pushing back, the knee is gently balanced into the floor and the front foot is gently pushing forwards.<br /></p><p>In contrast to this, I feel, the feeling in the body is slightly more forwards. This is more so in the lower body where the rear foot is quite strongly pushing back, the body weight positioned so that the rear knee inclines some force down and back and the front foot being pushed strongly forwards.<br /></p><p>At this point in Yokogumo, to create a fast furikaburi-kirioshi action, the tension is released in the lower limbs and hips and the body quickly moves forwards and under the sword as it is raised and quickly brought down. I spend quite a few goes just practicing this intermediate sequence and it can become very fast after a while.</p><p>I think this is something I am going to go onto practice a bit more in the next few weeks as it has the propensity to become either something quite nice or at least be good for my development of lower body strength.<br /></p><p><br /></p><p><br /></p><p><br /></p>Andy Watsonhttp://www.blogger.com/profile/00487592175723217904noreply@blogger.com0